OFFICIAL  REPORT 

OF  THE 

FOURTEENTH  ANNUAL  MEETING 

OF  THE 

MUSIC  TEACHERS' 

NATIONAL  ASSOCIATION, 

The  AmericanoSociety  for  the  Promotion  of  Musical  Art, 

HELD  AT 

DETROIT,  MICH. 
J'TJiilT  1,  2,  3  ^isriD  4,  1890- 

f   _ — 

EDITED  B7  THE  SECRETARY, 


Published  by  the  Association. 


—  OF  THE  — 


ISIC  TEKIEES'  HTlfllil  iSS'I, 

The  American  Society  for  the  Promotion  of  Musical  Art, 
FOURTEENTH  ANNUAL  MEETING  HELD  AT  DETROIT,  MICH. 

TUESDM,  WEDNE8DJIY,  THURSDAY  I  FRIDfiY,  JULY  1 2, 3, 4, 


OFFICERS  AND  COMMITTEES. 

A.  R.  PARSONS,  President  Steinway  Hall,  New  York. 

H.  S.  PERKINS,  Secretary  174  Wabash  Ave.,  Chicago,  111. 

W.  H.  DANA,  Treasurer  Warren,  Ohio. 

EXECUTIVE  COMMITTEE. 

J.  H.  HAHN  Detroit,  Mich. 

A.  A.  STANLEY  Ann  Arbor,  Mich. 

F.  H.  PEASE  YpBilanti,  Mich. 

PROGRAM  COMMITTEE. 

CALIXA  LAVALLE   156  Tremont  St.,  Boston,  Mass. 

WILSON  G.  SMITH   55  Euclid  Ave.,  Cleveland,  Ohio. 

DR.  F.  ZIEGPELD  Central  Music  Hall,  Chicago,  111. 

EXAMINING  COMMITTEE  OF  AMERICAN 
COMPOSITIONS. 

ARTHUR  FOOTE  2  W.  Cedar  St.,  Boston,  Mass. 

AD.  M.  POESTER  P.  O.  Box  883,  Pittsburgh,  Pa. 

AUGUST  HYLLESTED  Central  Music  Hall,  Chicago,  111. 

A.  I.  EPSTEIN  (Altbknate)  2214  Lucas  Place,  St.  Louis,  Mo. 

AUDITING  COMMITTEE. 

F.A.PARKER   .    Madison,  Wis. 

■C.  W.  LANDON  Claverack,  N.  Y. 

F.  R.  WEBB  Staunton,  Va. 

VICE-PRESIDENTS. 

ALABAMA  C.  L.  DOLL  308  S.  Perry  St.,  Montgomery 

ARIZONA  LUDWIG  THOMAS  Prescott 

ARKANSAS  MRS.  L.  HEERWAGEN  Little  Rock 

CALIFORNIA  J.  H.  ROSEWALD ...........  938  Geary  St.,  San  Francisco 

COLORADO  OTTO  PFEFFERKORN  University,  Denver 

CONNECTICUT  N.  H.  ALLEN  382  Main  St.,  Hartford 

NORTH  DAKOTA  MRS.  F.  KLAPP  Jamestown 

SOUTH  DAKOTA  MRS.  MYRA  ROSSAVAGONEE  Yankton 


DELAWARE  C.  B.  RHODES  Wilmington 

DISTRICT  OF  COLUMBIA. .  .ROBT.  C.  BERNAYS  1218  Twelfth  St.,  Washington 

FLORIDA   MRS.  ANKIE  G.  PARKER  Ocala 

GEORGIA  CONSTANTIN  STERNBERG  Atlanta 

ILLINOIS   C.  B.  CADY  Auditorium,  Chicago 

INDIANA  W.  P.  HEATH  Ft.  Wayne 

IOWA   A.  ROMMEL   Mount  Pleasant 

KANSAS  JOHN  W.  METCALF  Wichita 

KENTUCKY  RUDOLF  DE  ROODE  Lexington 

LOUISIANA  J.  W.  H.  ECKERT,  402  St.  Andrew  et  New  Orleans 

MISSOURI  HENRY  F.  ROY,  256  Lisbon  st  Lewiston 

MARYLAND  HENRY  SCHWING,  19  Lexington  st    Baltimore 

MASSACHUSETTS   S.  B.  WHITNEY,  125  Tremont  st  ,  Boston 

MICHIGAN  J.  H.  HAHN,  654  Woodward  ave  Detroit 

MK^NESO^A  WALTER  PETZET,  801  South  12th  ave  Minneapolis 

MISSOURI  M.  L  EPSTEIN,  2214  Lucas  pi  St.  Louis 

MISSISSIPPI  N.  A.  BARBE  Verona 

MONTANA  MRS.  E.  J.  McMlLLAN  Deer  Lodge 

NEBRASKA  ERMINA  D.  COCHRAN,  State  University  Lincoln 

OTVADA  MRS.  A.  LAYTON  Virginia 

NEW  HAMPSHIRE  E.  T.  BALDWIN,  P.  O.  Building  Manchester 

NEW  YORK  CHARLES  W.  LANDON  Claverack 

NEW  JERSEY  HENRY  HARDING  Freehold 

NORTH  CAROLINA  W.  H.  NEAVE  Salisbury 

OHIO  JOHANNES  WOLFRAM  Canton 

OREGON  E.  COOK,  Arlington  Building  Portland 

PENNSYLVANIA  CHARLES  H.  JARVIS,  3738  Locust  st  Philadelphia 

RHODE  ISLAND  H.  C.  MACDOUGALL,  24  Summer  st  Providence 

SOTTH  CAROLINA  ERNST  BROCKMAN  Columbia 

TENNESSEE  MRS.  E.  T.  TOBEY,  IIB  Hill  st  Memphis 

TEXAS  HORACE  CLARK,  JR   Corpus  Christl 

UTAH  JOHN  P.  ME  AKIN,  box  877    .  ..Ogden 

VERMONT  .....M.  H.EDDY....  St.  Johnsbury 

VIRGINIA  F.  R.  WEBB  ....   Staunton 

WEST  VIRGINIA  LILY  R.  CHURCH,  1208  Ann  st   .Parkersburg 

WASHINGTON  F.  MUELLER  Spokane  Falls 

WISCONSIN  J.  C.  FILLMORE  Milwaukee 

€ANADA  EDWARD  FISHER,  12  Wilton  Crescent,..  .Toronto,  Ont. 

€  AN  AD  A   W.  E.  FAIRCLOUGH,  17  McGill  College,  Montreal,  Quebec 


o:f:fioe]e,s 


mm  TEHEES'  IlTIOHl  ISS'I 

The  American  Society  for  the  Promotion  of  Musical  Art, 
-FOR  1892- 

Fifteenth  fmul  Meeting  to  be  held  in  Mmneapolis,  Minn. 


TUE8D11Y,  WEDNE8DE  THURSDAY,  FRIDAY,  ^^^-^'^U^^^^ 


and  2, 


OFFICERS. 

J.  H.  HAHN,  President  Detroit,  Mich.- 

H.  S.  PERKINS,  Secretary  174  Wabash  Ave.,  Chicago,  IIU 

W.  P.  HEATH,  Treapurei  Oehkosh,  Wis. 

EXECUTIVE  COMMITTEE. 

CARL  V.  LACHMUND  511  Nicollet  Ave.,  Minneapolis,  Minn^ 

S.  A.  BALDWIN  330  W.  3d  Street,  St.  Paul,  Minn. 

GUSTAVUS  JOHNSON   ...511  Nicollet  Ave.,  Minneapolis,  Minn. 

PROGRAM  COMMITTEE. 

WILSON  G.  SMITH,   55  Euclid  Ave.,  Cleveland,  Ohio. 

E.  J.  MYER  36  E.  Twenty -third  St.,  New  York  City. 

N.  H.  ALLEN  382  Main  St ,  Hartford,  Conn. 

EXAMINING  COMMITTEE   OF  AMERICAN 
COMPOSITIONS. 

ARTHUR  FOOTE  (Chaibman)  2  W.  Cedar  St.,  Boston,  Mass. 

E.  R.  KROEGER  3315  Laclede  Ave.,  St.  Louis,  Mo. 

%^  CHAS.  A.  JARVIS  3738  Locust  St.,  Philadelphia,  Pa. 

J.  H.  ROSEWAJjD  (Altbbhate)  938  Geary  St.,  San  Francisco,  Cal. 

AUDITING  COMMITTEE. 

J.  W.  RUGGLES  (Chairman)  Fayette,  Iowa.. 

C.  H.  CONGDON  842  St.  Anthony  St.,  St.  Paul,  Minn. 

r.  A.  PARKER   14  W.  Gilman  St.,  Madison  Wis. 

VICE  PRESIDENTS. 

ALABAMA  C,  L.  DOLL  Montgomery 

ARIZONA  LUDWIG,  THOMAS  Prescott 

CALIFORNIA  J.  H.  ROSEWALD,  938  Geary  at   San  Francisco 

COLORADO  HENRY  H.  NAST   Denver 


•CONNFCTICUT  F.  P.  McCORMICK  New  London 

DISTRICT  OF  COLUMBIA... OTIS  B.  BULLARD,  Con.  of  Music   Washington 

DELAWARE  C.  B.  RHOADES  Willmington 

FLORIDA  MRS.  ANKIE  GREEN  PARKER  Ocala 

ILLINOIS  C.  B.  CADY,  Auditorium   Chicago 

INDIANA  MAXLECKNER,  282  N.  Penn.  St.,  Indianapolis 

IOWA  J.  W.  RUGGLES  Fayette 

KENTUCKY  J.  MAURICE  BACH  ,  Henderson 

KANSAS    N.  S.  GILBERT  Leavenworlh 

LOUISIANA   ..ANNA  BOULTGNY  New  Orleans 

MASSACHUSETTS  S.  B.  WHITNEY,  125  Tremont  st  Boston 

IklAINE  ;  HENRY  F.  ROY,  255  Lisbon  st  Lewiston 

MARYLAND  RICHARD  BURMEISTER  Baltimore 

MICHIGAN  A.  A.  STANLEY  Ann  Arbor 

MINNESOTA  A.  A.  BEE  BE  Heron  Lake 

^MISSOURI  M.  L  EPSTEIN',  2214  Lucas  Place  St.  Louis 

MISSISSIPPI  N.  A.  BARBE  Verona 

:M0NTANA  M.  H.  HERSCHFIELD  Helena 

ISTEBRASKA  .....J.  C.  MILLER  Li»coln 

NEW  HAMPSHIRE....,  E.  T.  BALDWIN,  P.  O.  Building....  Manchester 

NEW  JERSEY  HENRY  HARDING  Freehold 

■NEW  YORK.  ..^  CHAS.  W.  LAN  DON  Claverack 

NEVADA   MARYE.  QUAIFFE  Reno 

l^ORTH  CAROLINA  LISSIE  M.  SOUTHGATE   Dprham 

NORTH  DAKOTA  MRS.  FREDERICK  KLAPP  Jamestown 

OHIO  W.  L.  BLUMENSCHEIN,  Con.  of  music   Dayton 

OREGON  E.  COOK,  Musical  institute  Portland 

PENNSYLVANIA  CHAS.  H.  JAR  VIS,  3738  Locust  st  Philadelphia 

RHODE  ISLAND. ..  ,  JULES  JORDAN,  54  Broadway  Providence 

SOUTH  DAKOTA  

TENNESSEE...  MRS.  E.  T.  TOBEY,  115  Hill  st  Memphis 

TEXAS  H.  CLARK  JR  Corpus  Christi 

UTAH   JOHN  P.  ME  AKIN,  217  E.  4th  st,  south..  .Salt  Lake  City 

VERMONT  M.  H.  EDDY  St.  Johnsbury 

VIRGINIA  F.  R.  WEBB  Staunton 

WEST  VIRGINIA  LILY  R.  C  HURCH,  1308  Ann  st   Parkersburg 

WISCONSIN  F.  A.  PARKER  ...Madison 

CAlfAI>A. 

ONTARIO    EDWARD  FISHER,12  Wilton  Crescent  Toronto 

QUEBEC  W.  E.  FAIRCLOUGH,  17McGill  College  ave. . .  .Montreal 


STATE  ASSOCIATIONS  FOR  1891. 


CONNECTICUT. 

N.  H,  Allen  382  Main  St.,  Ha-rtfokd  Pre8idbj?t. 

F.  A.  Fowler  851  Chapel  St.,  New  Haybh  Secretary^ 

ILLINOIS. 

H.  S.  Perkins  .174  Wabash  Ave.,  Chicago  Prrsident. 

Frederic  Grant  Glbason.  84  Auditorium,  Chicago  Secretary.. 

INDIANA. 

J.  A.  Zeller  La  Fayette  President. 

J.  F.  KiNSEY  La  Fayette  Secretary. 

IOWA. 

J.  W.  RuGGLEs  Fayette  PrEkSident. 

Anna  L.  Failor  Burlington  Secy.-Trbas. 

KANSAS. 

William  MacDonald  Lawrence  *.  .President. 

H.  E.  ScHULTz  1120  Main  St.,  Kansas  City  Secretary 

KENTUCKY. 

KUDOLPH  DE  ROODB  LEXINGTON  PRESIDENT. 

Ellis  O.  Kidd  Lexington..  Secy.-Treas. 

MICHIGAN. 

J.  H.  Hahn  Conservatory  of  Music,  Detroit  President. 

F.  A.  Abel  40  Fort  St.,  West,  Detroit  Secretary. 

NEW  HAMPSHIRE. 

E.  T.  Baldwin  10  P.  O.  Block,  Manchester  President. 

E  .M.  Temple.  ..   Nashau  Secretary. 

NEW  YORK. 

Dr.  8.  N.  Penfield  Chickering  Hall,  N.  Y.  City  President. 

J.  William  Suffern  5  E.  14th  St.,  N.  Y.  City.  Secy.-Treas. 

OHIO. 

H.  O.  Farnum  Springfield  President, 

L.  M.  Frankenberg  Springfield  Cor.  Secretary. 

PENNSYLYANIA. 

Charles  Davis  Carter  Pittsburgh  President. 

Ad.  M.  Foerster   .Box  883  Pittsburgh  Secy.-Treas. 

RHODE  ISLAND. 

Robert  Bonner  60  Williams  St.,  Providence   .President. 

Nathan  B.  Spague.  Conrad  Building,  Providence  Secretary. 

•  TEXAS. 

J.  Aleine  Browne  Chapel  Hill  President.. 

Wm.  Besserer  Austin  Secy.-Treas. 

ONTARIO,  CANADA. 

R.  S.  Ambrose  Hamilton  President- 

V.  P.  Hunt  Toronto  Secretary. 


PROGRRDINGS 

OF  THE 

FOURTEENTH  ANNUAL  MEETING 

OF  THE 

Music  Teacters'  National  Association, 

The  American  Society  for  the  Promotion  of  Musical  Art, 

HELD  AT 

Detroit,  July  l,  2,  ?  &  4,  1890 


ADDRESS  OF  WELCOME. 

BY  JAME8  B.  ANGELL,  L.  L.  D.,  OP  ANN  ARBOR. 

Mr,   President,  Ladies  and  Gentlemen  of  the  National  Music  Teachers' 
Association: 

The  committee  of  arrangements  have  done  me  the  great  honor  to 
assign  me  the  pleasant  duty  of  speaking  that  word  of  welcome  which  at 
this  time  springs  unbidden  to  the  lips  of  the  citizens  of  Detroit  and  of 
the  State  of  Michigan.  Welcome  thrice  welcome  to  this  fair  city  then, 
which  watches  so  proudly  this  beautiful  gateway  of  the  northern  lakes; 
welcome  to  the  hospitable  homes  and  her  intelligent  and  cultivated  citi- 
zens, these  homes  that  are  flung  wide  open  this  week  for  your  reception. 
Welcome  to  this  great  commonwealth  that  sits  in  queenly  splendor  here 
guarding  these  great  lakes  about  her  with  a  zone  of  beauty;  decked  as  a 
bride  with  the  ever  unfading  roses  of  June;  rich  with  every  grass  and 
grain  and  fruit,  with  her  purple  soil  and  her  genial  climate  can  produce. 
Rich  with  the  unmeasured  wealth  of  mine  with  which  God  has  endowed 
the  earth  beneath  her  feet  to  unknown  depths.  Mines  of  salt,  mines  of 
iron,  mines  of  copper,  mines  of  coal,  rich  with  the  commerce  that  crowns 
all  these  waters  that  wash  her  shores.  Rich  with  the  unsurpassed  system 
of  public  education,  which  furnishes  almost  without  money  and  without 
price  to  every  child  within  her  borders  the  advantages  of  public  educa- 
tion from  the  primary  school  up  through  the  High  School,  the  Normal 
School,  the  Agricultural  College,  the  University,  with  all  its  depart- 
ments. Rich  therefore  with  the  population  which  intelligence  and  virtue 


8 


MUSIC  teachers'  national  association. 


and  culture  we  may  modestly  say  need  not  fear  comparison  with  the 
population  of  any  of  the  commonwealths  of  this  great  nation.  Welcome, 
welcome  again,  to  this  happy  prosperous  State. 

Teachers,  I  am  called  to  speak  this  word  of  greeting  to  you,  I  doubt 
not,  because  of  my  oflQcial  connection  with  the  public  system  of  educa- 
tion. That  system,  I  am  happy  to  say,  recognizes  music  as  an  essential 
factor  of  all  true  education.  It  provides  not  only  for  elementary  instruc- 
tion, for  music  in  the  public  schools  as  do  our  states  generally,  but  it 
also  endeavors  in  some  degree  to  provide  higher  instruction  in  music,  at 
least  in  the  Normal  school  and  in  the  State  University,  Advanced  study 
in  music  holds  as  honorable  a  place  in  the  curriculum  of  the  University 
as  does  advanced  study  in  Latin  or  Greek  or  Philosophy,  and  the  direc- 
tion our  present  exacting  and  accomplished  professor  of  music,  which 
calls  for  as  strenuous  study  on  the  part  of  the  student  as  any  other 
branch  which  is  there  taught.  It  is  indeed,  I  think  a  matter  of  congratu- 
lation than  truer  ideas  concerning  musical  culture  now  prevail  than  those 
which  for  many  years  have  been  cherished  in  this  country.  It  is  now 
beginning  to  be  understood  that  the  mere  mechanical  reproduction  of 
the  notes  is  no  more  an  evidienc  of  musical  culture  than  the  parrot  like 
recitation  of  the  school  boy  of  Hamlet's  Soliloquy  is  a  proof  of  true 
poetic  feeling  or  of  dramatic  talent.  One  must  gain  the  power  of  appre- 
hending, and  to  some  extent  at  least  of  interpreting  that  true  sympathy 
of  great  masters  of  song  before  one  can  claim  to  have  gained  that  musical 
culture.  That  this  idea  has  become  so  widely  disseminated  as  it  has  is 
due  in  no  small  degree  to  the  zeal  and  the  energy  of  the  members  of  this 
association  who  up  and  down  this  land  have  been  preaching  and  illus- 
trating with  so  much  power  the  true  doctrines  of  musical  art.  I  think 
we  all  have  reason  to  be  gratified  with  the  progress  which  has  been  made 
in  this  country  in  musical  culture  during  the  past  few  years.  We  may 
claim  without  immodesty,  I  think,  that  we  have  not  a  few  indeed  who 
are  honoring  this  association  with  their  presence,  who  are  capable  of  in- 
terpreting in  the  best  manner  the  great  classical  masters;  and  some  com- 
posers of  whom  we  are  justly  proud,  composers  whose  names  are 
mentioned  with  honor  and  respect  even  in  the  great  musical  centers  of 
Europe;  so  much  labor  and  expense  and  time  are  required  to  produce  a 
new  oratorio,  or  a  new  opera,  however  deserving,  that  the  musical  com- 
poser is  evidently  at  serious  disadvantage  in  comparrison  with  the  painter 
or  the  sculptor  in  bringing  his  work  before  the  public.  Not  every  com- 
poser can  find  as  his  patron  a  king,  especially  in  this  country  where  kings 
are  not  very  abundant;  but  we  may  add,  that  the  people  who  claim  to  be 
the  king  here,  and  who  are  the  king,  should  do  what  is  lacking  to  aid 
our  composer  in  producing  their  works.  I  believe  with  a  littte  effort  on 
the  part  of  the  public,  much  can  be  done, much  more  than  has  been  done. 
And  you  will  pardon  me  if  I  will  mention  as  a  pleasant  illustration  that 
lingers  in  my  memory  very  freshly  now  that  during  the  past  week  Buck's 
^'Light  of  Asia"  was  produced  in  a  manner  which  I  think  would  not  hare 
been  displeasing  to  the  eminent  composer  himself.  And  I  am  glad  to  see 


ADDRESS  OF  WELCOME— RESPONSE. 


9 


that  in  your  program  so  much  provision  is  made  for  presenting  the  works 
of  the  American  composers.  (Applause.) 

I  cannot  doubt  that  this  great  association,  that  its  strength  will  become 
a  mighty  agency,  not  only  in  helping  us  rightly  to  understand  and  pos- 
sibly some  of  us  to  interpret  the  works  of  the  great  classic  authors,  but 
also  inspiring  and  encouraging  many  of  our  countrymen  some  of  whom 
we  may  justly  hope  will  attain  an  eminence  in  the  musical  art  as  some 
of  our  countrymen  have  attained  great  eminence  in  the  art  of  painting 
and  of  sculpture,  But  I  may  not  delay  the  pleasure  which  we  are  all  ex- 
pecting in  listening  to  the  address  of  the  President.  I  close  as  I  began  by 
wishing  you  one  and  all  a  most  hearty  welcome  to  this  city  and  this  state 
and  wish  every  success  to  this  worthy  association. 

PRESIDENT  parson's  RESPONSE. 

Ladies  and  Gentlemen: 

In  having  the  pleasure  of  seeing  the  honored  President  of  Michigan 
University  upon  the  platform  of  our  Association,  and  listening  to  his 
kind  words  of  welcome,  we  are  reminded  of  the  fact  that  in  our  time, 
apart  from  holy  religion,  two  great  powers  stand  over  against  each  other, 
contending  for  the  supremacy  in  revealing  to  us  the  mysteries  of  being, 
namely,  Art  and  Physical  Science. 

From  the  point  of  view  of  art,  we  believe  that,  as  the  ancient 
astronomer  took  the  visible  appearance  of  things  for  the  reality,  so  the 
materialistic  scientist  of  our  day  practically  assumes  that  the  whole  real 
world  is  projected  into  our  brain  by  the  senses  of  touch  and  sight. 

Opposed  to  this  attitude  stands  music,  which,  in  the  wordsf  of  Wag- 
ner, faces  physical  science  with  the  affirmation,  "You  are  the  offspring 
of  the  appearance  of  things,  I  am  of  the  reality;  you  are  from  without,  I 
am  from  within;  I  am  the  last  light  left  burning  within  the  soul  of  men 
to  lead  the  way  to  finding  God  anew." 

This  claim  of  music  is  not  without  recognition  at  the  hands  of  the 
great  leaders  of  modern  scientific  thought;  it  is  only  apt  to  be  forgotten 
by  their  disciples  who  are  preaching  and  teaching  science  in  all  lands. 

Thus  Darwin  confessed  that,  by  neglecting  art,  his  mind  became  at 
last  a  sort  of  machine  for  grinding  general  laws  out  of  large  collections 
of  facts,  and  frankly  stated  that  he  held  the  loss  of  the  aesthetic  tastes  to 
be  not  only  a  loss  of  happiness  to  him,  but  also  injurious  to  the  intellect; 
while  Spencer  says  that  the  power  and  meaning  of  music  are  only  com- 
prehensible on  the  supposition  that  the  indefinite  impressions  of  an 
unknown  ideal  life  which  music  calls  up  are  a  prophecy,  to  the  fulfill- 
ment of  which  music  itself  is  partly  instrumental. 

In  our  great  institutions  of  learning,  physical  science  and  art  dwell 
together  under  a  common  roof,  but  not  always  upon  a  common  footing. 
Only  too  often  the  heavenly  messenger  is  permitted  merely  to  serve  the 
sweets  for  dessert,  while  the  chair  of  honor  is  accorded  to  the  authority 
on  bones,  stones,  and  gases. 


10 


MUSIC  teachers'  national  association. 


No  one  who  realizes  what  physical  science  and  art  respectively  stand 
for  in  our  time,  can  be  satisfied  with  the  familiar  spectacle  of  the  usual 
one-sided  and  intimate  relations  between  the  representatives  of  our  halls 
of  learning  and  the  men  of  physical  science.  And  we  musicians,  espe- 
cially, feel  that  we  have  just  cause  for  a  sentiment  of  jealousy  in  the 
matter. 

Hence  the  Music  Teachers'  National  Association  will  ever  hold 
Michigan  University  in  affectionate  regard  for  the  distinguished  courtesy 
shown  to  us  today  by  the  honored  head  of  that  great  seat  of  learning,  in 
coming  to  extend  to  us  the  open  hand  of  welcome. 

I  have  the  honor  to  tender  the  thanks  of  the  Association  to  President 
James  B.  Angell,  of  the  University  of  Michigan,  for  his  courteous 
Address  of  Welcome. 


THE  PRESIDENT'S  ADDRESS. 


BY  ALBERT  ROSS  PARSONS,  OF  NEW  YORK. 

Fellow  Members  of  the  National  Music  Teachers'  Association: 

To-day  this  association  enters  upon  the  fourteenth  year  of  its  useful- 
ness. Looking  backward  through  the  past  thirteen  years,  we  may  well 
wonder  at  the  rapidity,  the  extent  and  the  solidity  of  its  growth.  When 
in  1876,  a  few  thinking  teachers  of  music  projected  a  meeting  in  a  quiet 
little  town  in  the  neighboring  state  of  Ohio — the  Music  Teachers'  National 
Association  you  see  is  a  part  of  the  Ohio  idea  of  which  we  used  to  hear 
so  much  a  few  years  ago— doubtless  they  were  sanguine  as  to  the  result, 
all  men  are  sanguine  when  starting  new  movements,  but  they  cannot 
possibly  have  realized  that  the  spark  fhey  thus  struck  out  would  kindle 
a  conflagration  of  such  proportions  as  to  sweep  the  country  eaat  and  west 
like  a  prairie  fire.  They  cannot  have  dreamed  that  in  but  a  few  years 
their  modest  initiative  would  lead  up  to  a  series  of  grand  festival  meet- 
ings such  as  those  of  New  York  under  Penfield,  Boston  under  Stanley, 
Indianapolis  under  Lavallee,  Chicago  under  Leckner,  Philadelphia  under 
Heath,  and  the  present  one  in  Detroit  Nor  can  they  have  imagined  that 
starting  as  an  association  of  music  teachers  specifically,  the  organization 
they  were  founding  would  rapidly  assume  the  functions  of  an  Ameri- 
can Society  for  the  promotion  of  musical  art  in  general;  founding  the  first 
incorporated  College  of  American  Musicians;  championing  the  interests 
of  American  composers  and  raising  large  sums  of  money  annually  to 
place  American  compositions  squarely  before  the  public  eye  and  keep 
them  there;  undertaking  royally  to  subsidize  American  music  by  means  of 
an  adequate  Orchestral  and  Choral  Concert  Endowment  Fund;  and  ap- 
pointing and  maintaining  standing  committees  for  the  development  of  a 
National  Method  of  Musical  Instruction,  for  the  revision  of  musical 
terminology,  and  for  the  introduction  of  a  higher  style  of  music  into  ser- 
vices of  the  sanctuary.  « 

Although  the  title  of  Music  Teachers'  National  Association  has  long^ 
since  become  misleading  and  a  misnomer  by  failing  to  indicate  the  scope 
and  nature  of  the  work  the  society  is  carrying  on,  we  may  nevertheless 
be  pardoned  for  feeling  a  sentiment  of  attachment  to  the  name  under 
which  so  much  valuable  work  has  been  projected  and  accomplished.  If 
her  espousal  of  weighty  interests  not  strictly  within  the  province  of  the 
teacher's  vocation  shall  lead  our  association  to  change  her  name  to  one 
indicating  the  interests  to  which  she  is  to  be  permanently  wedded,  let  us 
trust  that  she  will  at  all  events  retain  her  original  name  in  parentheses 
as  a  sort  of  middle  initial  preserving  the  memory  of  her  origin. 


12 


MUSIC  teachers'  national  association. 


If  we  feel  thus  toward  our  association,  ought  we  not  to  pay  some 
special  honor  to  the  the  men  who  founded  it. 

Our  annual  reports  now  classify  members  as  life,  active  and  asso- 
ciate. I  would  suggest  that  it  be  made  a  permanent  rule  hereafter  as 
long  as  the  association  shall  last,  and  under  whatsoever  name,  to  head 
these  several  lists  with  one  comprising  the  names  of  the  men  who  origin- 
ated and  signed  the  call  for  the  first  meeting,  under  the  title  of  Founders 
of  the  Association. 

When  we  survey  the  past  history  of  this  association,  all  is  not  poetry 
nor  is  all  sunshine  that  meets  the  eye.  Times  of  refreshing  we  certainly 
have  known  or  we  should  not  be  here  to-day;  but  we  also  have  known  per- 
iods of  parching  thurst  in  dry  lands  where  no  water  was,  and  to-day  it  is 
not  so  very  long  since  this  society  was  as  poor  in  purse  as  was  the  con- 
tinental congress  when  the  thirteen  American  colonies  emerged  victor- 
ious from  the  struggles  of  the  war  of  Independence.  But,  we  believe 
that  like  those  colonies,  this  society  has  days  of  prosperity  soon  to  fol- 
low, for  we  are  both  hopeful  and  resolved  that  when  we  shall  again  as- 
semble to  hold  our  fifteenth  meeting  we  will  have  $100,000  in  our  treasury 
safely  invested  for  the  purpose  of  carrying  on  the  beneficient  work  of 
this  association  in  all  future  time.  To  raise  this  fund,  we  propose  if 
necessary,  to  visit  every  musical  instrument  maker  and  dealer,  every 
music  publisher  and  seller,  every  conservatory,  and  every  institution  of 
learing  where  music  is  taught,  every  teacher,  every  pupil  and  every  lover 
of  music  in  this  broad  land,  and  to  wrestle  manfully  with  them  all  until 
they  arc  brought  to  see  their  duty  clearly  in  the  matter,  and  are  pledged 
to  act  up  to  it;  in  brief  having  undertaken  this  great  work  we  propose  to 
fight  it  out  on  these  lines  if  it  takes  all  of  several  summers  with  the  in- 
tervening winters  in  the  bargain. 

In  confidence  of  our  ability  to  achieve  this  work,  we  come  to  this 
festival  with  joyful  hearts  and  minds  brimful  of  enthusiasm.  Well  may 
we  renew  to-day  our  vows  of  loyalty  to  this  association.  Here  in  union 
we  have  found  new  strength;  the  attrition  of  discussion  has  worn  down 
weak  points  and  brought  out  strong  ones;  and  the  fame  of  our  delibera- 
tions has  spread  so  far  that  now  American  students  of  music  have  bejfun 
to  retrace  their  steps  homeward  in  search  of  teaching  based  on  a  free 
analysis  and  fresh  ventilation  of  all  matters  of  artistic  theory  and  prac- 
tice which  naturally  result  from  the  pi^lic  interchange  of  professional 
ideas,  but  which  are  foreign  alike  to  the  traditions  and  the  routine  of  the 
conventional  conservatory  abroad.  In  these  preliminary  droppings  we 
may  readily  discern  the  precursors  of  a  shower  to  follow. 

Turning  now  from  these  gratifying  retrospecti  and  prospects,  it  is  in 
order  to  speak  of  the  work  of  the  past  year. 

For  the  greater  part  of  the  information  falling  under  this  head  you 
are  referred  to  the  reports  of  the  Secretary,  Treasurer,  and  the  various 
committees,  which  will  come  before  you  in  due  season.  It  gives  me 
pleasure  to  state  that  the  same  harmony  which  was  reported  at  Phila- 
delphia by  our  able  and  impartial  presiding  oflScer  of  last  year,  Past 


phesident's  address. 


IS 


President  Heath,  lias  continued  during  the  year  now  endinj?,  while  our 
executive  committee,  led  by  their  indefatigable  and  accomplished  chair- 
man, Vice-President  Hahn,  whose  strategic  genius  and  fertility  of  re- 
sources are  the  admiration  and  wonder  of  all  who  have  had  an  inside 
view  of  this  year's  work,  have  been  so  brilliantly  successful  both  in  rais- 
ing the  wind  financially,  and  in  stirring  up  a  continual  breeze  in  the 
newspapers  and  professional  journals,  that  our  good  ship,  with  all  saila 
spread,  has  fairly  leaped  through  the  waves  without  feeling  the  least 
ripple  of  a  cross  current  in  any  direction. 

This  continued  good  fortune  was  promoted  by  the  constitutional 
amendment  adopted  at  Philadephia  whereby  the  President  was  enabled 
to  call  to  his  aid  a  staff  of  vice-presidents  composed  as  far  as  possible  of 
members  personally  known  either  to  himself  or  the  members  of  the 
executive  committee,  and  thus  specially  qualified  to  represent  the  aims 
and  policy  of  his  administration.  In  no  case  did  the  appointment  of  a 
new  vice-president  imply  any  criticism  of  either  the  methods  or  the  re- 
sults of  the  previous  officer's  services.  Wherever  a  previous  vice-presi- 
dent was  not  asked  to  consent  to  continue  in  office,  a  letter  of  thanka 
for  his  services  rendered  was  sent  in  the  name  of  the  association,  and 
the  loyal  supprrt  of  the  retiring  officer  solicited  in  behalf  of  his  successor. 
The  second  sentence  of  Section  6,  Article  XII,  of  the  constitution,  which 
declares  that  failure  to  send  a  written  report  at  the  opening  session  of 
the  annual  meeting  shall  render  a  vice-president  ineligible  for  reappoint- 
ment, has  been  construed  by  some  to  imply  that  only  death  or  resigna- 
tion could  honorably  bring  to  close  the  term  of  office  of  a  faithful  vice- 
president.  Hence  some  worthy  officers  who  were  not  reappointed  wrote 
letters  in  self-defence,  concluding  with  the  request  to  be  permitted  to  re- 
sign. This  misapprehension  is  unfortunate.  Presidents  of  the  associa- 
tion do  not  beg  leave  to  resign  to  save  a  wound  to  their  honor  upon 
yielding  their  high  office  to  their  successors.  Accordingly  I  would  sug- 
gest that  the  committee  on  Revision  of  the  Constitution  be  asked  so  to 
change  the  present  provisions  relating  to  the  term  of  service  of  vice- 
presidents  as  to  cause  every  such  officer  to  feel  that  while  appointment 
to  that  office  is  one  of  the  highest  honors  connected  with  the  work  of 
the  association,  the  appointment  of  some  other  member  to  take  the  same 
position  at  the  expiration  of  a  year's  service  implies  no  censure  and  in- 
volves no  reflection  upon  the  retiring  officer  On  the  other  hand,  it 
might  be  well  to  make  a  provision  whereby  for  cause  the  president  and 
executive  committee  might  by  unanimous  vole  remove  a  given  vice- 
president  and  appoint  his  successor  without  awiting  the  expiration  of 
his  year  of  office,  to  save  valuable  time  when  the  wheels  were  being 
blocked  by  inaction  or  incompetency. 

I  would  further  recommend  the  publication  in  connection  with  our 
annual  report,  of  an  official  blue-book,  containing  the  constitution  and 
by-laws  and  also  the  full  text  of  all  resolutions,  reports  and  measures 
adopted  by  this  association,  as  long  as  they  continue  in  force. 

For  want  of  such  a  compilation  many  ideas,  the  fruit  of  earnest 


14 


arusic  teachers'  national  association. 


thought  and  discussion  before  this  house,  have  been  acted  upon  and  then 
suffered  to  drift  into  oblivion  as  our  annual  reports  have  passed  out  of 
print,  thus  leaving  the  old  straw  to  be  thrashed  over  again  whenever  cir- 
cumstances shall  call  attention  anew  to  the  matters  involved.  Over 
against  this  state  of  things,  an  official  blue-book  showing  at  a  glance 
what  measures,  resolutions,  recommendations,  etc.,  are  iu  force  at  a 
given  time  would  include  in  itself  a  sort  of  National  Method,  and  con- 
tinually suggest  both  new  lines  of  action  and  also  what  improvements 
were  needed  wherever  defects  were  disclosed  by  subsequentexp  erience 
and  reflection. 

I  would  also  recommend  that  our  secretary  be  instructed  to  send  a 
copy  of  every  past  report  still  obtainable  and  one  of  every  future  meet- 
ing, to  the  chief  public  library  in  the  cities  of  Boston,  New  York,  Wash- 
ington, Cincinnati,  Chicago,  St.  Louis  and  San  Francisco,  so  that  in. 
those  cities  at  least  persons  interested  may  always  be  able  to  consult  our 
records. 

At  our  meeting  a  year  ago,  in  Philadelphia,  it  was  determined  to 
have  a  committee  appointed  to  develop  a  national  method  of  musical 
instruction  for  voice,  music  in  the  public  schools,  harmony,  piano-forte 
and  organ.  Certain  questions  asked  during  the  past  year  render  it  desira- 
ble to  say  a  few  words  in  further  explanation  of  the  basis  and  scope  of 
this  undertaking. 

On  every  hand  one  hears  from  young  teachers  and  earnest  students 
the  question:  In  the  immense  quantity  of  music  of  all  periods  and  styles 
which  we  now  have  before  us,  what  compositions  are  desirable  that  a 
thorough  students  should  master  in  the  effort  to  attain  artistic  proficiency? 

As  Sir  John  Lubbock  found  it  worth  while  to  consider  how  to  reduce 
the  literature  with  which  every  educated  person  should  be  familiar  to  a 
selection  of  the  hundred  best  books,  so  it  will  be  a  boon  to  the  rising 
generation  of  teachers  and  students  of  music  to  possess  graded  lists  of 
the  most  important  compositions,  etudes,  theoretical  works,  etc.  When 
these  lists  are  finally  adopted  as  representing  the  best  judgment  of  ;our  com. 
mittees  with  the  endorsement  of  the  Association,  they  are  to  be  the  com- 
mon property  of  the  profession  at  large.  The  preparation  of  the  anno- 
tated editions,  which  will  be  most  desirable,  must  then  be  left  to  private 
enterprise,  and  all  such  special  editions  will,  of  course,  then,  as  now,  be 
the  property  of  their  respective  editors  and  publishers.  This  will  leave 
the  field  open  to  competition,  alike  as  to  contents,  quality  and 
price. 

It  proved  very  difficult  to  organize  the  various  sections  of  the  commit- 
tee in  accordance  with  the  wishes  of  the  Association.  This  was  partly 
because  many  of  the  men  particularly  desired  were  among  the  best- 
known,  and,  consequently,  the  busiest  men  in  the  profession.  Gradu- 
ally, however,  nearly  all  have  responded  to  the  wish  of  the  Association, 
and  a  glance  at  the  names  of  those  now  at  work  on  this  committee  suf- 
fices to  show  that  the  work  is  in  the  hands  of  representative  men. 

The  Association  will  await  with  particular  interest  the  report  of  the 


president's  address. 


15 


Committee  on  the  Endowment  Fund  as  to  the  steps  they  have  taken  and 
growth  of  the  fund  to  the  present  time. 

The  question  has  been  asked,  What  particular  interest  have  the 
South  and  West,  especially  the  interior  regions,  in  the  raising  of  this* 
fund,  and  why  should  peoplefin  those  localities  contribute  to  it  in  prefer- 
ence to  keeping  their  money  for  the  promotion  of  music  nearer  home  ? 
The  answer  will  be  easy,  if  it  should  please  the  Association  to  pledge 
itself  to  hold,  as  soon  as  the  fund  shall  be  raised,  a  certain  proportion  of 
its  meetings  during  the  Christmas  holidays  in  Southern  States,  and  others 
as  usual  in  the  summer  season,  in  Western  localities  where  a  large  popu- 
lation is  to  be  found  almost  wholly  without  any  incentives  to  an  active 
interest  in  seeking  to  reach  a  high  plane  of  musical  culture.  With 
Buch  an  understanding,  it  ought  to  be  easy*to  secure  large  contributions 
from  those  regions,  since  no  use  to  which  such  sums  could  be  put  at 
home  can  promise  anything  comparable  to  the  art-awakening  sure  to  fol- 
low a  festival  meeting  of  this  Association,  wherever  it  may  be  held  out- 
side of  the  musical  capitals  of  the  country. 

A  most  serious  obstacle  to  securing  contributions  from  any  lovers  of 
music  lies  in  the  unfortunate  fail  ur  of  the  name  of  our  Association 
to  command  the  interest  of  many  who  are  willing  to  contribute  to  the 
cause  of  music,  but  who  will  not  do  anything  for  a  teachers'  association. 

This  difficulty  was  foreseen  some  years  ago,  and  at  our  New  York 
meeting  the  name  of  the  association  was  changed  by  an  almost  unani- 
mous vote  to  that  of  the  American  Society  for  the  Promotion  of  Musical 
Art.  According  to  parliamentary  law,  a  motion  to  reconsider  is  out  of 
order,  save  when  made  by  a  member  who  voted  in  the  affirmative.  On 
this  occasion,  however,  when  the  matter  had  been  lawfully  decided,  and 
barely  a  quorum  remained  (the  business  of  the  meeting  being  practically 
finished),  an  esteemed  musician,  who  had  misunderstood  both  the  word- 
ing and  the  meaning  of  the  newly-adopted  title,  made  some  hasty  re- 
marks about  not  excluding  classic  and  foreign  music  from  our  programs 
and  teaching,  and  moved  that  the  action  just  taken  be  reversed.  The 
supporters  of  the  measure  being  no  longer  present  to  point  out  the  mem- 
ber's error,  the  valid  action  of  the  majority  w^as  improperly  reversed. 
As  the  said  musician  has,  for  many  years  past,  dropped  his  membership, 
and  steadily  declined  to  take  any  f  urthei  part  in  its  work,  doubtless  he 
would  now  find  the  rose  as  sweet  under  any  other  name.  Meanwhile,  our 
Association  goes  under  her  maiden  name,  without  ever  having  been  law- 
fully divorced  from  the  one  to  which,  by  reason  of  her  mission,  she  is  en- 
titled. And  that  unparliamentary  reversal  of  an  important  point  gained, 
is  going  to  hamper  our  work  still  more  in  the  future.  Many  a  public-spir- 
ited American  will  give  liberally  to  a  society  for  the  spread  of  the  gospel 
who  would  not  subscribe  one  cent  to  a  preachers'  national  association. 

In  brief,  while  the  public  cares  for  principles,  not  men  in  the  titles 
of  societies,  our  present  title  places  a  vocation  rather  than  our  art  in  the 
foreground.  And  it  does  this  in  defiance  of  the  warning  that  he  that 
exalteth  himself  shall  be  abased.    L'et  us,  then,  as  speedily  as  possible. 


16 


MUSIC  teachers'  national  association. 


put  ourselves  out  of  sight  and  promotion  of  musical  art  in  the  fore- 
ground, and  from  that  time  on  we  shall  have  not  onlj^  the  sympathy  of  all 
men  who  are  interested  in  the  progress  of  civilization  in  America,  but  we 
shall  have  their  dollars  as  well.  The  public  will  no  longer  stand  idly  by 
while  the  Association  seeks  to  pay  its  own  expenses  ;  but,  instead,  will 
turn  squarely  around  and  say,  "  Show  us  that  you  know  how  to  promote 
the  cause  of  music  for  us  and  our  children,  and  we  will  provide  the 
necessary  means."  That  is  what  is  in  a  name!  Clearly,  there  will  be 
far  less  appearance  of  self-seeking  in  asking  contributions  to  our  endow* 
ment  fund  if  w*e  speak  as  representing  a  legally  incorporated  American 
Society  for  the  Promotion  of  Musical  Art,  than  if  we  ask  simply  as  mem- 
bers of  a  teachers'  association. 

Every  consideration  whic'h  bears  on  the  raising  of  that  fund  is  of 
supreme  consequence  now,  for  the  fund  must  be  raised  before  we  hold 
another  meeting,  or  it  will  be  in  danger  of  passing  into  the  limbo  of  the 
Grant  Monument  in  New  York  City. 

This  leads  naturally  to  the  question:  When  ought  our  next  meeting 
to  be  held? 

The  relations  of  our  State  and  National  Associations  will  be  dealt 
with  thoroughly  in  the  course  of  the  present  meeting.  I  shall  only  refer 
to  the  obvious  fact  that  at  present  the  interests  of  the  two  sorts  of  asso- 
ciations seriously  conflict.  Hence  the  idea  of  having  them  meet  bien- 
nially in  alternation  has  for  some  time  been  discussed  with  favor  among 
our  members.  This  time,  however,  in  view  of  the  importance  of  our 
fund,  and  the  necessity  of  bending  all  our  energies  to  its  completion 
before  we  raise  and  spend  much  money  for  any  other  purpose,  I  would 
ask  you  to  consider  something  exceptional. 

In  the  year  1492  Columbus  discovered  some  of  the  outlying  regions 
of  the  American  continent.  It  was  proposed  to  celebrate  the  four  hun- 
dredth anniversary  of  that  event  by  a  world's  fair.  Had  that  fair  been 
held  anywhere  near  the  part  of  America  really  discovered  by  Columbus 
it  would  have  come  off  in  1892.  But  the  fair  is  not  going  to  be  held  on 
the  Atlantic  coast  this  time.  Chicago  is  to  celebrate  the  four  hundretb, 
and  San  Francisco  the  five  hundredth  anniversary;  so  the  Columbus 
celebration  will  not  be  due  on  the  Atlantic  coast  before  the  twenty-first 
century. 

But  that  is  not  all.  The  fair  is  not  going  to  be  held  in  1892  this 
time.  Necessity  is  the  mother  of  invention,  and  Chicago  has  determined 
that  as  she  is  to  have  the  fair,  it  shall  not  be  held  before  the  four  hun- 
dredth anniversary  of  the  year  in  which  Columbus  would  probably  have 
discovered  the  site  of  the  future  Chicago  had  he  extended  his  voyage 
sufficiently  far  ;  and  it  has  been  determined  that  the  very  earliest  date 
of  the  discovery  of  that  enterprising  part  of  America  would  have  been 
1493 ;  so  in  1893  the  Chicago  World's  Fair  is  to  be  held. 

We  all  wish  to  attend  in  a  body,  as  the  representative  Association  of 
American  Musicians,  the  four  hundred  and  first  anniversary  of  the  dis- 
covery of  America.   Hence  I  beg  to  propose  that,  in  case  our  Orchestral 


president's  address. 


17 


and  Choral  Concert  Endowment  Fund  should  not  be  completed,  and  the 
Association  made  forever  financially  independent,  by  the  year  1892,  our 
Executive  Committee  shall  be  authorized  to  postpone  our  next  meeting 
to  the  year  1893,  at  Chicago. 

Many  State  Associations  have  suspended  their  meetings  for  this  year 
in  order  not  to  conflict  with  our  national  meeting.  Let  them  then  meet 
two  years  in  succession,  and  do  all  they  can  at  home  to  help  the  parent 
society  in  its  work  of  raising  the  $100,000  which  we  want  to  have  in  our 
treasury  when  we  go  to  Chicago  in  1893,  Of  course,  if  w«  can  raise  the 
fund  before  1892,  it  would  do  no  harm  both  to  meet  in  that  year  and  to 
take  part  in  the  Fair  in  1893.  This  matter  is  one  which  calls  for  most 
careful  consideration. 

In  any  case,  whether  we  meet  in  both  1892  and  1893,  or  find  it  expe- 
dient to  wait  until  1893,  I  would  propose  that  the  President  of  our  Asso- 
ciation be  authorized  to  address  to  a  number  of  prominent  citizens  of 
Chicago,  of  known  public  spirit,  and  liberality  in  the  support  of  art,  a 
letter  something  as  follows: 

"Dear  Sir:  The  Music  Teachers'  National  Association,  the  sole 
incorporated  American  Society  for  the  Promotion  of  Musical  Art,  pro- 
poses to  hold  its  Fifteenth  Grand  Festival  Meeting  at  Chicago,  Illinois, 
during  the  time  of  the  World's  Fair  in  1893.  The  Festival  Concerts  of 
the  Association  will  be  devoted  on  that  occasion,  as  for  several  years 
past,  to  the  adequate  production  of  American  musical  compositions  cf 
all  types,  from  the  art- song  to  the  grand  orchestral  symphony. 

"On  such  a  great  historic  occasion  as  the  coming  World's  Fair,  the 
works  of  American  composers  of  music  should  obviously  be  awarded 
their  rightful  place  among  the  products  of  American  brains,  talent, 
ingenuity  and  industry.  Where  the  American  painter  am  inventor  are 
accorded  official  recognition,  the  American  musician  should  not  be 
ignored. 

"With  a  view  to  securing  such  just  and  merited  recognition  on  the 
occasion  in  question,  it  is  proposed,  at  the  coming  Fourteenth  Annual 
Meeting  of  the  said  Music  Teachers'  National  Association,  to  appoint  a 
select  committee  of  gentlemen  whose  recognized  standing,  public  spirit, 
and  interest  in  musical  art,  will  at  once  command  the  respectful  atten- 
tion of  the  Commissioners  of  the  Fair,  to  present  before  said  Commis- 
sioners the  claims  of  the  Music  Teachers'  National  Association  to  such 
official  recognition,  and  to  secure  for  their  Grand  Festival  Concerts  in 
1893  a  place  on  the  Official  Program  of  the  Fair. 

"I  have  tae  honor  to  ask  if  you  will  kindly  consent  to  serve  on  a 
committee  thus  constituted  and  organized  for  the  purpose  herein 
specified." 

The  list  of  persons  thus  invited  should  be  made  up  by  the  President 
and  the  Executive  and  Program  committees,  with  the  advice  of  members 
of  the  Association  permanently  residing  in  Chicago. 

If  we  decide  to  hold  our  meetings  biennially  hereafter,  our  next 
President,  Secretary,  Treasurer,  Executive  and  Program  committees,  and 


18 


MUSIC  teachers'  national  association. 


Committee  on  American  Compositions  will  be  elected  to  serve  for  two 
years.  In  that  case,  were  no  meeting  to  be  held  in  1892,  the  officers 
whose  terms  would  then  expire  would,  according  to  law,  hold  over  until 
the  next  meeting,  when  their  successors  would  be  elected. 

There  remain  but  one  or  two  more  matters  of  business  to  present  for 
your  consideration. 

Paragraph  C,  Section  3,  of  Article  IX.  of  the  Constitution,  enacts 
that  "  in  no  case  shall  the  Program  committee  allow  a  composition  to 
be  performed  that  has  not  successfully  passed  the  examination  of  the 
Board  of  Examiners."  I  am  desired  by  trustworthy  members  of  our 
committees,  who  have  had  ample  opportunity  to  learn  the  practical 
working  of  the  section  in  question,  to  state  that  it  has  repeatedly  threat- 
ened to  deprive  the  Association  of  the  chance  of  hearing  anything  from 
our  best  American  composers,  for  the  simple  reason  that  artists  whose 
reputations  are  made  will  not  submit  their  works  to  a  dark  lantern  exam- 
ination at  the  hands  of  any  committee  this  or  any  other  Association  may 
appoint.  Consequently,  in  order  that  this  Association  should  not  come 
to  represent  simply  American  composers  as  yet  unrecognized  by  the 
world,  our  committee  have  had,  whenever  the  inferior  quality  of  works 
anonymously  submitted  has  left  vacant  places  on  our  programs,  to  invite 
our  standard  composers  to  contribute  something  to  fill  the  vacancies. 
The  Association  should  be  acquainted  with  this  condition  of  things  in 
order  that  it  may  docide  whether  to  enforce  a  stricter  observance  of  the 
letter  of  the  law  as  it  exists,  in  which  case  it  can  only  be  said  of  future 
programs.  What  a  falling  off  was  there,  my  countrymen!  or  else  to  give 
the  committee  more  lawful  discretionary  powers. 

I  would  accordingly  suggest  that  the. provision  in  question  be  altered 
to  read:  "In  no  case  shall  the  Program  committee  allow  a  composition 
to  be  performed  which  has  been  rejected  by  the  Board  of  Examiners." 

With  the  article  thus  amended,  it  will  be  necessary  only  to  continue 
to  put  fair-minded  men  upon  the  Program  committee,  and  then  give 
them  liberty  to  make  up  the  best  program  that  the  discoveries  of  the 
Examining  Board  for  American  Compositions  and  the  portfolios  of 
American  composers  of  reputation  can  provide. 

Furthermore,  the  experience  of  our  Executive  Committee  points  to 
the  wisdom  either  of  Abolishing  the  associate  membership  altogether, 
and  substituting  for  it  a  patrons'  list,  or  else  amending  the  first  clause  of 
Section  3,  paragraph  D,  of  Article  IV.,  the  Constitution,  to  read  : 

"Associate  membership  can  be  acquired  for  the  current  year  by  the 
payment  of  not  less  than  $5.00  nor  more  than  $10.00,  according  to  the 
determination  of  the  Executive  Committee  for  said  year,  which  fee  shall 
entitle  such  member  to  all  privileges,"  etc.,  as  at  present. 

By  thus  making  the  fee  for  active  membership  less  than  that  for  asso- 
ciate membership,  a  premium  is  offered  for  the  acquirement  of  the 
musical  knowledge  requisite  for  admission  to  active  membership  in  the 
Association ;  whereas,  at  Philadelphia,  last  year,  the  existing  provision 
said,  in  effect:  "If  you  are  a  professional  musician,  it  will  cost  you  $5.00 


president's  address. 


19 


to  attend  the  meeting.  If,  however,  you  are  willing  to  pocket  your 
knowledge  and  forfeit  your  vote,  you  may  come  in  for  $2.00." 

The  Association  should  also  consider  the  desirability  of  creating  the 
offices  of  Librarian,  and  also  of  Commissioner  of  Transportation,  the 
latter  oflScer  to  receive  a  fair  compensation  for  the  labor  of  affecting  ar- 
rangements by  which  thousands  of  dollars  will  be  saved  to  our  members 
in  the  form  of  traveling  expense. 

Again,  the  work  of  the  Church  Music  Commission  will  be  greatly 
promoted  if  the  appointment  of  its  members  be  placed  in  the  hands  of 
the  President  of  the  Association,  according  to  the  rule  which  prevails  in 
the  appointment  of  all  other  standing  committees  in  the  Association. 

Finally,  I  would  suggest  that  it  be  made  a  permanent  rule  that  the 
official  stenographer  of  the  meeting  be  instructed  to  make,  by  manifold- 
ing process,  two  typewritten  copies  of  his  report  of  the  proceedings 
and  that  he  transmit  one  of  these  copies  to  the  President  at  the  same 
time  the  other  is  sent  to  the  Secretary;  stipulating,  moreover,  that  both 
copies  shall  be  in  the  hands  of  the  respective  officers  within  two  weeks 
after  the  close  of  the  meeting  to  which  the  report  refers.  For  the  want 
of  a  duplicate  copy  of  the  report  at  an  early  date,  an  incoming  Presi- 
dent may  be  seriously  inconvenienced  and  greatly  perplexed. 

In  conclusion,  let  me  call  your  attention  to  the  new  badge  of  the  life 
members  of  this  Association.  It  is  an  exact  reproduction  of  the  classic 
Greek  design  of  the  lyre  of  Orpheus,  as  fashioned  by  Mercury  from  the 
carapace  and  sinews  of  the  tortoise. 

You  will  remember  that  Mercury  was  the  god  of  Intelligence,  and 
that,  originally,  it  was  only  as  such  that  he  was  fabled  to  be  a  thief, 
since  intelligence  instinctively  appropriates  everything  of  value  within 
its  reach.  It  required  intelligence  to  see  the  possibility  of  an  instrument 
of  music  in  the  shell  and  sinews  of  a  tortoise,  just  as  it  has  always  re- 
quired intelligence  to  bring  out  the  music  after  an  instrument  has  been 
devised.  Every  time  this  badge  meets  the  eye  our  thoughts  are  directed 
to  Apollo,  who  bestowed  upon  his  nephew,  Orpheus,  the  lyre  fashioned 
by  Mercury.  And  this  leads  to  a  very  ancient  and  profoundly  true  con- 
ception of  the  nature  and  function  of  our  glorious  art. 

Apollo  was  the  sun-god.  Now,  the  sun  is  the  source  of  all  atmos- 
pheric vibrations  throughout  the  solar  system.  Music  comes  to  us  by 
means  of  atmospheric  vibration,  and,  hence,  Apollo,  the  sun-god,  was 
most  fittingly  recognized  as  the  god  of  music.  "  Wouldst  thou  under- 
stand the  universe  T'  said  the  ancients,  "then  look  into  thine  own  soul ; 
wouldst  thou  understand  thy  soul  ?  then  hearken  to  music." 

That  was  the  ancient  way  of  expressing  the  great  truth  of  which  we 
are  reminded  by  this  badge.  A  modern  way  of  putting  the  same  truth  is 
found  in  a  late  sermon  by  the  Rev.  Dr.  Heber  Newton,  who  said  : 

"The  least  material  of  the  arts  is  music.  It  needs  no  canvas  and  no 
marble  with  which  to  embody  its  visions.  It  seizes  the  passing  breath 
and  embodies  its  life  therein." 

"A  wisp  of  thin  air  is  enough  for  it  to  charge  with  the  highest 


20 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


thoughts  and  the  deepest  feeling,  to  make  luminous  the  most  glorious 
visions.  With  our  eyes  shut,  and  the  whole  earthly  world  withdrawm,. 
a  tone  seizes  and  leads  us  out  from  earth  into  heaven,  even  away  from  all 
things  material  and  selfish  and  sensual,  into  the  deep,  calm-currents  of  the 
life  eternal." 

Fellow-members,  I  have  the  honor  to  declare  the  Fourteenth  Annual 
Meeting  of  this  Association  open  and  ready  for  business. 


THE  SECRETARY'S  REPORT. 


BY  H,  S.   PERKINS,   OF  CHICAGO. 

Members  of  the  Music  Teachers'  National  Association — 

Ladies  and  Oentlemen: 

The  poet  who  wrote,  "The  wheels  of  time  roll  swiftly  round,"  must 
have  been  a  busy  man. 

It  seems  but  a  day  (without  using  a  very  extravagant  figure  of 
speech)  since  our  meeting  in  Philadelphia  one  year  ago. 

While  it  is  not  incumbent  upon  m«  to  speak  in  detail  of  the  last 
meeting,  because  the  proceedings  are  in  print  and  accessible  to  all,  yet 
I  may  retrospect  briefly  without  trespassing  upon  the  time,  or  reiterating 
that  with  which  you  are  already  familiar.  You  are  aware  that  it  was 
not  as  much  of  a  financial  success  as  might  have  been  desired. 

The  success  or  failure  of  this  Association  must  be  based  very  largely 
upon  its  business  management  and  financial  condition. 

Notwithstanding  the  financial  weakness,  and  the  smaller  attendance 
than  at  the  two  or  three  previous  meetings,  it  was  a  very  pleasant  gath- 
ering, socially,  and  much  good  was  accomplished,  notably  in  the  organ- 
ization of  a  State  Music  Teachers'  Association  for  Pennsylvania.  I 
believe  that  President  Wolsiefer  (a  most  eflScient  commanding  officer, 
and  a  hard-working,  self-sacrificing  compatriot),  with  his  drilled  adju- 
tants, will  make  it  a  success. 

It  was  the  first  time  in  the  history  of  this  Association  that  a  very 
large  proportion  of  the  music  teachers  of  the  city  and  surrounding  coun- 
try recorded  themselves  as  "associates,"  and  paid  the  small  fee  which 
the  constitution  required  of  that  class  of  citizens.  Our  experience  dem- 
onstrates that  we  must  hold  our  meetings  in  the  Western  cities,  where 
blood  and  business  are  more  active,  to  meet  with  the  most  encouraging 
success. 

This  I  do  not  consider  a  disparagement,  nor  the  statement  a  criti- 
cism, but  facts  are  facts,  and  cannot  be  ignored.  Youth  is  radical  and 
active,  while  old  age  is  conservative  and  feeble,  sometimes  in  proportion 
to  its  corpulency.  But  as  the  tide  ebbs  and  flows,  as  the  shuttle  moves 
from  side  to  side  to  produce  the  web  or  fabric,  and  as  circulation  is 
essential  to  life,  health  and  growth,  so  may  it  be  wise  to  hold  our  meet- 
ings in  the  East,  West,  North  and  South  until  the  musical  millennium 
has  dawned  and  Chicago  (the  natural  center  of  the  country)  becomes  its 
permanent  home. 


22  MUSIC  teachers'  national  association. 

I  had  hoped  to  be  able  to  reduce  the  labor  of  the  Secretary's  office 
by  systemizing  the  method  of  book  keeping  and  correspondence  but 
instead  of  accomplishing  this  it  appears  to  be  more  demanding  and 
exacting  each  succeeding  year. 

The  first  extra  labor  required  of  me  the  past  year  was  the  raising  of 
funds  with  which  to  pay  the  cost  of  issuing  the  report.  The  treasury 
was  depleted,  but  the  book  must  be  issued  or  disgrace  would  stare  us  in 
the  face.  While  the  constitution  requires  the  Secretary  to  publish  the 
proceedings,  it  is  silent  as  to  providing  the  necessary  means.  If  the 
Secretary  contracts  with  the  printer  he  is  personally  responsible.  The 
treasury  was  as  dry  and  forsaken  as  a  last  year's  bird's-nest.  But  as  I 
am  not  in  the  habit  of  "putting  my  hand  to  the  plow  and  looking  back," 
nor  of  allowing  the  Association  to  suffer  when  in  my  hands,  I  laid  my 
personal  business  and  interests  aside  and  raised  the  money  from  adver- 
tisements to  pay  the  entire  cost  of  publishing  the  edition,  with  a  credit 
balance  of  $6.46.  If  this  special  labor  were  to  be  required  of  the  Sec- 
retary each  year,  I  should  have  to  decline  the  office  and  honors  if  offered 
to  me,  as  it  has  been  for  three  consecutive  years,  with  similar  treasury 
conditions,  excepting  1888,  when  our  meeting  was  held  in  Chicago.  I 
mailed  a  copy  of  the  official  report  to  all  of  the  music  journals  of  this 
country,  and  to  the  leading  journals  of  England,  Germany,  France  and 
Austria. 

Additional  work  has  been  required  the  past  year  in  preparing  sta- 
tionery, etc.,  for  Vice-Presidents,  and  shipping  the  same,  which  was 
done  by  President  Heath  the  year  before;  also  the  issuing  of  documents 
required  by  special  committees  for  the  benefit  of  the  Association.  Dur- 
ing the  year  I  have  sent  out  two  sets  of  general  circulars,  had  20,000  of 
the  advance  program  printed,  mailed  or  expressed  packages  to  all  of  the 
Yice-Presidents  and  members  of  committees,  and  addressed  to  12,000 
persons,  followed  by  2,000  of  the  Railroad  circular,  etc.,  etc. 

Transportation  has  been  one  of  the  most  difficult  matters  to  cope 
with.  Every  possible  effort  was  made  to  secure  reduced  rates  from  all 
of  the  traffic  passenger  associations,  but  the  success  was  limited  to  the 
Central  and  the  Southern— action  by  the  latter  being  taken  too  late  to 
be  of  service  to  our  members  in  those  States  south  of  the  Ohio  river- 
While  we  may  regret  our  failures,  or  only  partial  successes,  in  the  past,. 
I  cannot  but  be  pleased  with  the  progress  which  has  been  made.  This 
gathering  attests  that  the  Music  Teachers'  Katioiaal  Association  still 
lives,  and  I  honestly  believe  that  our  coming  to  Detroit — this  go-ahead,, 
beautiful  metropolis  of  Michigan — will  prove  an  act  of  wisdom  and 
providential  direction.  The  Executive  Committee,  with  Chairman  Hahn 
at  the  helm,  has  done  a  great  and  noble  work  for  the  Association,  and 
Tichly  merits  our  heartiest  thanks. 

I  have  a  few  suggestions  to  offer  without  argument : 

1.  That  the  "  associate"  memberships  be  discontinued. 

2.  That  the  price  of  season  tickets  to  the  public  at  our  annual  meet- 


secretary's  report. 


23 


ings,  and  admissions  to  special  concerts,  or  sessions,  be  left  with  the 
Executive  Committee. 

3.  That  the  members  of  the  Association  adopt  the  Annual  Report  as 
a  medium  for  advertising,  and  insert  at  least  a  professional  card  in  each 
issue,  and  pay  $5  for  the  same,  to  assist  in  paying  the  expense  of  pub- 
lishing the  book. 

4.  That  Article  X.,  Section  1  of  the  Constitution,  be  so  amended  as 
to  define  the  limits  of  the  Executive  Committee  in  regard  to  creating 
debts  or  financial  obligations  for  which  ample  provision  has  not  been 
made. 

5.  That  a  Railroad  Committee  be  chosen  in  each  Traffic  Association, 
who  shall  assist  the  Secretary  in  securing  favorable  transportation  to  our 
annual  meetings. 

Since  the  last  meeting  our  membership  has  been  depleted  by  the 
death  of  Dr.  Louis  Maas,  of  Boston,  September  18,  1889;  Miss  Caroline 
R,  Schneider,  of  Chicago,  January  19,  1890;  Dr.  Carl  Merz,  of  Oxford, 
Ohio,  January  80,  1890,  and  C-  M.  Loomis,  of  New  Haven,  Conn.,  March 
9,  1890. 

In  closing  I  desire  to  say  that  there  has  been  the  most  perfect  har- 
mony, professional  courtesy  and  hearty  co-operation  existing  between 
the  Secretary  and  the  officers  and  committees  during  the  past  year,  and 
this  very  largely  ccmpensates'  for  the  arduous  duties  which  I  have 
endeavored  to  perform. 


HISTORY  OF  PIANO-FORTE  TEACHING. 


PAST,  PRESENT  AND  PPtOBABLE  FUTURE. 


BY  JAMES  HAMILTON  HOWE,  GREENCASTLE,  IND. 

Before  entering  upon  the  subject,  I  wish  to  make  an  apology  for 
calling  this  an  essay,  for  I  consider  it  rather  a  rambling  talk,  systema- 
tized as  much  as  time  would  permit.  There  is  really  so  much  to  say  on 
this  topic  in  the  short  time  given  me,  that  one  can  only  hit  parts  of  the 
subjects  and  throw  out  hints  here  and  there.  Instead  of  making  them 
definite  divisions,  I  have  at  times  interlocked  them  as  an  easier  if  not  a 
clearer  mode  of  expression.  There  are  so  many  departments  and  lines 
that  one  hardly  knows  which  to  take  first.  A  few  words  as  to  the  ancient 
modes  of  piano-forte  teaching  and  piano-forte  technic. 

PAST. 

Of  course  it  is  useles  for  me  to  give  you  a  geneaological  table  of  the 
precursors  of  the  piano-forte,  but  I  will  mention  the  Dulcimer,  Psalterer; 
the  Egyptian,  Grecian  and  Roman  Harps  and  Lyres,  which  were  struck 
with  a  quill  or  plectrum.  It  is  rather  astonishing  how  slowly  the  Piano- 
forte made  its  way  against  the  Clavichord  and  the  Harpsichord  ;  but  pro- 
gress is  oft  times  hindered  by  the  stubbornness  of  mind.  The  composi- 
tions of  Bach  (that  representative  of  polyphonic  technic),  Hadyn  and 
Mozart,  had  much  to  do  in  retarding  the  progress  of  the  introduction  of 
the  Piano-forte,  still  they  also  had  great  influence  in  creating  a  desire  for 
some  broader  medium  for  full  expression  of  creations.  Bach  was  an  in- 
ventor as  well  as  a  teacher.  He  also  engraved  upon  copper  and  manu- 
factured instruments.  He  labored  with  restless  eagerness  and  energy  at 
his  own  development'of  technic  ^d  theory,  and  also  inculcated  the  same 
ideas  in  his  own  immediate  family.  The  art  of  playing  had  attained 
considerable  proficiency  at  the  time  of  the  introduction  of  the  piano- 
forte. 

It  was  left  to  Emanuel  Bach  to  take  the  first  step  toward  the  proper 
treatment  of  the  instrument,  and  how  faithfully  was  his  work  performed. 
In  1759  he  published  his  essay  on  the  ''true  manner  of  playing  the  Piano- 
forte," which  summarizes  all  the  experiments  and  experiences  made  up 
to  that  time,  and  starting  out  from  them  effects  the  transition  to  modern 
piano-forte  playing.  His  maxims  were  closely  followed  by  Haydn  and 
Mozart.  Most  of  you  are  undoubtedly  familiar  with  Mozart's  remarks 
upon  piano-forte  playing.  A  quick,  steady  hand  with  its  natural  light- 
ness, smoothness  and  gliding  rapidity  so  well  developed  that  passages 


HISTORY  OP  PIANO-FORTE  TEACHING. 


25 


should  flow  like  oil.  In  expressing  symbolically  the  requisite  needs  of  a 
good  performer,  he  pointed  to  his  head,  as  the  seat  of  understanding,  his 
heart,  as  symbolical  of  sympathy,  and  to  the  tips  of  the  fingers  the  rep- 
resentative of  technical  skill.  With  new  improvements  in  the  manufact- 
ure of  instruments  came  new  possibilities  of  execution  and  expression. 
Clementi,  of  whom  Beethoven  had  a  most  exalted  opinion,  was  the  real 
father  of  the  piano-forte  and  piano-forte  virtuosos.  This  was  almost  his 
sole  medium  of  expression.  That  he  was  a  good  teacher,  let  such  per- 
formers as  the  following  prove  :  Cramer,  who  combined  the  best  quali- 
ties of  the  Mozart  and  Clementi  school,  and  whose  touch  Beethoven  pre- 
ferred to  all  others  ;  Field,  the  inventor  of  the  nocturne  ;  Dussek  ;  Kalk- 
brenner  and  Mayer.  Clementi  began  by  practicing  Scarlatti's  Sonatas, 
and  lived  to  become  acquainted  with  the  finest  piano-forte  works  of  all 
time.  The  great  teachers  of  the  Clavichord  and  Harpsichord  were  Scar- 
latti, Couporin  and  Bach.  They  treated  their  instruments  in  composi- 
tion, at  least,  more  in  the  organ  style  than  that  of  the  piano-forte. 
Among  some  of  the  great  teachers  of  the  instrument  (piano-forte)  : 
Emanuel  Bach,  the  grandfather  of  the  piano-forte;  Clementi,  the  father; 
Czerny;  Hummel,  the  exponent  of  the  knuckle  technic,  and  Berger. 
Henseit,  Dreyschock,  Dobler,  Mayer  and  Thalberg.  especially  by  their 
renditions  ;  Beethoven,  Moscheles,  Mendelssohn  and  Chopin  by  their 
compositions  ;  Shumann,  by  his  compositions,  excellent  essays,  reviews 
and  terse  sayings.  Liszt,  Kullak,  Tausig  and  Bulow,  in  various  directions. 
Deppe  should  come  in  for  a  share  of  fame  in  this  line,  and  Wieck  should 
not  be  forgotten.  Rubinstein  and  D'Albert  aided  and  are  aiding  the 
cause  of  art  by  their  renditions  and  compositions.  Cramer;  Field,  Ber- 
ger (the  teacher  of  Mendelssohn),  and  Kalkbrenner,  were  excellent  per- 
formers and  teachers.  Weber  was  a  great  performer,  and  influenced 
Mendelssohn,  Schumann,  Chopin,  Liszt.  Henseit  and  Heller.  It  has 
been  said  that  Liszt's  renditions,  although  containing  more  of  the  real 
fire,  were  not  so  polished  as  those  of  his  more  calm  and  dignified  rival — 
Thalberg,  who  was  always  careful,  to  a  most  extraordinary  degree,  about 
the  fingering  of  a  composition. 

Prof.  Riehter  said  :  "Next  to  the  more  powerful  development  of  the 
brain,  it  is  almost  exclusively  the  structure  and  skill  of  the  fingers  and 
hands  which  raises  man  above  the  brute,  and  has  made  him  ruler  of  the 
earth." 

The  "wise  in  their  own  conceit,"  and  also  the  foolish  who  have  but 
little  oil  in  their  lamps,  may  cry  down  technique  and  the  requisite  appli- 
ances for  obtaining  the  same;  yet  in  words  of  the  great  astronomer,  "The 
world  moves,"  and  the  unwieldy  digit  must  be  curved  and  drawn  on  the 
modern  rack  called  "Techninon,"  and  in  some  cases  quartered,  a  liga- 
ment cut  here  and  there,  muscles  that  have  been  lying  dormant  for  more 
than  six  thousand  years,  to  be  rejuvenated  and  taught  to  run  alone. 
Ward  Jackson  has  written  a  book  entitled  "  Fingers  and  Wrist  Gymnast- 
ics," which  is  a  valuable  aid  to  the  development  of  the  hand,  wrist  and 
fingers.    It  is  a  most  estimable  work  and  contains  very  much  in  small 


26  MUSIC  teachers'  national  association. 

space,  besides  being  a  good  guide  for  the  care  and  training  of  the  fingers. 
However,  one  must  not  endeavor  to  shine  by  technique  alone;  neither  i» 
it  good  taste  to  give  the  impression  that  this  is  the  strongest  point  in  our 
musical  make-up.  We  should  rather  try  to  give  a  round  musical  to-ne, 
and  render  it  clearly  as  near  the  composer's  ideal  as  possible.  Couppey 
said:  "Everything  lies  in  knowing  how  to  study."  As  an  aid  read 
Parent's  "The  Study  of  the  Piano-forte."  Theory  and  Practice  should 
go  hand  in  hand,  so  that  we  shall  not  have  so  many  pianists  who  are  not 
musicians,  and  vice  versa.  Cummings,  in  an  essay  on  fingering,  gives  a 
condensed  history  of  past  and  present  fingering,  taking  excerpts  from 
various  authorities,  showing  how  the  fingering  known  as  the  "German 
Fingering"  is  in  reality  of  English  oiigin,  and  that  the  English 
thumb  mark  (x)  was  brought  into  England  by  Falkner,  Clementi  and 
Dussek.  Although  we  are  several  degrees  removed  from  the  antique 
method  of  executing  the  scale  with  two  or  three  fingers,  we  must  not 
flatter  ourselves  that  we  have  reached  perfection.  In  1571  our  fore- 
fathers did  not  use  the  thumb  of  the  right  hand,  and  the  little  finger 
rarely.  Mattheson  wrote  in  1731:  "As  many  as  there  are  players  almost 
so  many  kinds  of  fingering  you  will  find.  One  runs  with  four  fingers, 
another  with  five,  some  almost  as  fast  with  only  two:  It  is  of  no  conse- 
quence, so  long  as  one  adopts  a  certain  rule  and  sticks  to  it."  The 
teacher  of  ancient  times  in  one  way  taught  better  than  we  do,  in  requir- 
ing the  pupil  to  write  and  copy  music.  The  study  of  harmony  is  filling 
this  gap  for  the  more  advanced  pupils.  Many  of  those  teachers  neg 
lected  the  technical  part  of  music.  From  a  pedagogical  standpoint, 
Chopin  as  a  teacher  was  nil,  according  to  Mecks.  Liszt's  lessons  were 
to  some  a  misnomer;  especially  to  those  who  were  not  advanced  far 
enough  to  appreciate  his  idealized  criticisms.  Of  the  benefits  derived 
from  the  instructions  of  Franz  Liszt  there  seems  to  be  a  difference  of 
opinion.  Some  considered  his  class  lessons  a  farce;  but  when  we  have 
such  an  array  of  artists  that  have  been  only  too  eager  to  gain  an  audi- 
ence to  his  classes,  and  hear  the  glowing  accounts  of  Miss  Fay,  Miss 
Stevens,  Miss  Aus  Der  Ohe,  Messrs.  Sherwood,  Lachmund,  D' Albert, 
and  others,  it  seems  that  there  coald  be  no  difficulty  in  drawing  one's 
conclusions.  Surely  Liszt's  innovations  are  manifold,  his  transcriptions 
marvelous,  and  his  treatment  consistent  with  the  possibilities  of  the 
modern  grand  piano-forte.    Let  us  hasten  on  to  the 

present. 

For  future  developments  of  musical  understanding  and  the  future 
character  of  musical  education,  we  should  continue  the  advance  of  Mr. 
Sternberg  and  Mr.  Parsons,  who  gave  us  admirable  essays  during  the 
meeting  of  this  Association  in  Philadelphia  last  year.  To  place  the 
matter  strongly,  no  teacher  should  teach  a  class  of  pupils  unless  the 
pupils  agree  to  meet  at  least  once  a  week  to  listen  to  an  aesthetic  lecture 
on  the  understanding  of  music.  This  method  would  also  serve  to  raise 
their  enthusiasm  for  a  more  united  effort,  and  prevent  the  bad  practice ^ 


HISTORY  OF  PIANO-FORTE  TEACHING. 


37 


on  the  part  of  the  pupils,  of  continually  changing  from  one  teacher  to 
another.  This,  although  always  to  the'detriment  of  the  student,  is  not  a 
good  custom  to  encourage  among  young  pupils.  Unity  of  effort  creates 
enthusiasm  for  a  higher  expression  of  nobility  of  thought  and  feeling. 
There  are  those  who  have  that  about  them  which  inspires  certain  pupils 
with  a  desire  for  hard  study.  In  that  case  half,  yes,  three-quarters  of  the 
battle  with  the  pupil  is  gained.  This  influence  is  of  inestimable  value  to 
the  pupil  and  can  in  a  measure  be  cultivated,  A  Conservatory  or  a  Col- 
lege of  Music  has  fine  advantages  for  a  liberal  culture  in  music.  The 
associating  of  young  people  together,  all  pursuing  the  study  of  the  same 
art  in  its  various  branches,  is  of  great  value  to  an  ardent  and  aspiring- 
devotee. 

Slowly  the  prejudice  of  the  loose  wrist  is  overcome.  Moschele» 
played  with  a  stiff  wrist,  but  think  you  not  that  he  could  have  rendered 
his  repertoire  with  less  labor  with  loose  wrist?  Students  who  are  not 
playing  with  the  loose  wrist  and  forearm  are  not  taking  advantage  of 
advanced  science.  How  indefatigably  have  Mr.  Sherwood  and  others 
worked  at  the  wrists  and  arms  of  the  struggling  public.  Wieck  started 
the  ball  to  rolling,  and  Mr.  Mason,  in  continuance,  is  working  wonders 
with  his  two-finger  exercises.  At  present  there  seems  to  be  a  better 
co-operation  on  the  part  of  the  teachers.  Formerly  a  pedagogue  sat  on 
his  method  as  if  it  was  a  golden  secret.  Oft  times  this  was  for  the  pro- 
fession. In  the  future  undoubtedly  the  instruction  of  the  technical  por- 
tion of  our  pianistic  profession  will  become  so  clearly  presented  that 
pupils  will  not  need  to  have  so  much  attention  given  to  finger  training. 
Thus  more  attention  can  be  devoted  to  artistic  polish,  expression  and 
conception.  When  we  reach  this  height  there  will  be  a  diminished  sale 
of  the  "Maiden's  Prayer "  and  a  more  thorough  dissemination  of  the 
classics.  For  a  graded  list  of  studies  see  various  musical 
journals  and  special  text  books.  A  good  element  is 
pushing  its  way  among  us.  Our  pedagogical,  uncommon  sense  is  not 
shocked,  as  in  former  times,  Dy  the  introduction  of  mechanical  helps  to 
the  development  of  technic.  The  ill  success  of  Schumann's  attempt 
has  been  a  great  bugbear  for  several  decades.  I  remember  how  many 
teachers  used  to  preach  against  the  inventions  to  "mortify  the  flesh" — 
that  were  here  and  there  creeping  in.  Discrimination  is  always  to  be  en- 
couraged. I  agree  with  Mr.  Sternberg  in  his  argument  put  forth  last 
year  in  Philadelphia.  I  refer  you  to  our  last  annual  for  a  perusal  of  the 
essay.  Listening  to  recitals  by  such  artists  as  we  have  in  America  will 
teach  discrimination.  It  costs  time  and  money  to  secure  these  benefits, 
but,  my  fellow-teachers,  is  it  not  money  well-spent?  Will  it  not  broaden 
the  minds  of  our  pupils,  so  that  the  burden  will  not  be  so  heavy  for  us 
to  carry?  I  have  been  engaged,  as  many  of  you  are  aware,  in  this  work 
among  our  pupils  at  the  De  Pauw  University,  with  marked  success  and 
mutual  benefit.  We  give  from  eight  to  ten  Artists'  Concerts  and  Recitals 
per  year,  and  I  assure  you  that  I  would  not  be  without  them  ;  and  do 
thereby  enthusiastically  urge  my  friends  to  go  and  do  likewise.  lam  sure 


28 


MUSIC  teachers'  national  association. 


that  we  are  all  of  us  believers  in  ensemble  works.  It  is  to  be  boped  that 
teacbers  will  give  special  attention  to  tbis  department  witb  tbeir  students, 
as  a  strong  educational  factor.  Caution  your  pupils,  yes  yourselves  as 
well,  not  to  overpower  the  string  parts  of  the  trio  and  quartette  accoinpa- 
niment.  We  should  remember  that  a  single  Violin,  Viola  or  Violoncello 
are  no  longer  rivals  of  the  piano-forte,  as  they  were  in  the  days  of  Mo- 
zart and  Beethoven.  At  the  present  time  whole  orchestras  have  to  bear 
down  upon  it ;  and,  as  in  the  case  of  the  Rubinstein  Concerto,  played  by 
Miss  Aus  Der  Ohe  in  Boston,  last  winter,  this  mighty  horde  is  beaten  in 
the  contest.  So,  in  playing  with  strings,  keep  in  the  mind  that  you  are 
not  playing  upon  a  clavichord  nor  an  ancient  Vienna  piano-forte,  but 
rather  upon  a  modern  heavy  action,  thick,  overstrung  wire  of  great 
length  and  vibrating  power  ;  and  repress  a  little  of  your  muscular  en- 
thusiasm. A  prominent  pianist,  considered  one  of  the  best  in  Boston,  to 
whom  I  listened  last  winter,  spoiled  his  performance  by  completely  cov- 
ering the  poor  Violin  and  Violoncello  with  inordinate  percussion.  A  de- 
lightful contrast  was  a  rendition  by  Arthur  Foote,  who,  for  many  years, 
has  been  the  exponent  of  a  large  share  of  the  trio  representations  at  the 
Hub."  Let  us  now  endeavor  to  look  into  the  future  and  make  slight 
attempts  at  prophesying. 

PROBABLE  FUTURE. 

In  this  age  of  invention  and  rapid  change,  what  the  coming  piano- 
forte will  be,  or  what  will  be  the  future  of  methods  of  piano-forte  teaching, 
who  can  foretell  ?  The  conservative  reason  that  we  have  nearly  reached 
perfection  ;  while  the  liberals  look  for  a  piano-forte  that  will  have  a  con- 
tinuous tone,  and  the  more  sanguine  seek  for  a  duplex  or  triplex  key- 
board, or  even  an  enormous  instrument  greatly  in  advance  of  the  piano- 
forte. What  with  Worrell's  "  Harmonic  Damper,"  Paul  Von  Janko's 
new  patent  keyboard,  and  Keely's  "  Sympathetic  Transmitter,"  we  may 
be  upon  the  verge  of  an  era  of  which  we  hardly  dream.  I  thank  the 
powers  that  be  that  the  popular  demand  is  becoming  more  and  more 
eager  for  the  intelligent  teacher  and  performer.  Look  out  for  the  pedal, 
my  friends.  More  than  four-fifths  of  the  pianistic  performances  are  in- 
jured, if  not  absoluty  ruined,  by  a  misuse  of  the  pedal.  We  now  come 
to  a  very  important  subject,  and  that  of  very  extensive  reading  on  the 
part  of  our  teachers  and  pupils.  It  seems  to  me  that  the  development  in 
this  direction  will  have  a  great  bearing  upon  our  future.  The  music  pro- 
fession generally  must  read  more  extensively.  Christiani,  in  his  fine 
work,  "  Principles  of  Expression,"  tays,  "Intelligence,  not  feeling,  is  the 
whole  basis  of  expression."  Hence  read,  and  read  intelligently.  Do  not 
stop  with  musical  literature,  read  aesthetics,  history  and  romance.  Sub- 
scribe for  standard  musical  journals.  As  an  aid  to  your  students,  buy  a 
few  books  and  circulate  them  among  your  pupils,  and  thus  form  a  sort  of 
circulating  library.  Let  us  have  fewer  specimens  of  the  genus  homo, 
with  one  idea,  who  pound  the  piano-forte  from  "  morn  till  dewy  eve," 
and  who  never  look  at  a  musical  review,  and  much  less  often  a  treatise 


HISTORY  OP  PIANO -FORTE  TEACHING. 


39 


or  theoretical  work.  It  is  a  wonder  that  more  of  them  do  not  become 
lunatics.  Taylor  says  that,  ' '  the  perpetuity  of  a  single  emotion  is  insan- 
ity." Christiani  adds  in  continuation,  '*  if  Taylor  is  correct,  purely  emo- 
tional music,  if  such  were  possible,  would  then  be  the  work  of  a  mad- 
man, and,  of  course,  of  no  value.  Hence,  purely  emotional  music  is  not 
to  be  thought  of."  We  must  have  talent,  emotion,  intelligence  and  tech- 
nique. As  a  valuable  aid  to  teaching,  as  well  as  in  your  own  practice,  I 
would  advise  the  use  of  a  Practice  Clavier*  I  will  say  here  that  I  was 
not  hired  to  repeat  this.  It  will  save  you  a  large  amount  of  harrowing 
explanations,  and  the  pupil  will  learn  to  acquire  a  legato  touch  in  one- 
quarter  of  the  time  usually  devoted  to  such  work,  and  in  the  majority  of 
cases  never  attained.  When  you  give  a  recital  with  your  students,  have 
a  "  Clavier"  placed  in  the  ante-room,  so  that  the  pupil  may  practice  for 
two  or  three  minutes  before  rendering  her  part  of  the  program.  Five  or 
ten  minutes  of  technical  practice  will  create  nervous  energy  and  freedom 
of  motion  in  hand  and  fingers  to  a  wonderful  degree.  Many  before  me 
appreciate  how  unsatisfactory  it  is  to  play  only  one  selection  at  a  con- 
cert, when  it  takes  them  from  twenty  to  thirty  minutes  to  become  thor- 
oughly musically  awake.  A  Technicon  is  useful  in  ways  well-known  to 
the  majority  of  the  present  audience.  Mr.  Tapper  is  writing  a  work  en- 
titled, "Chats  with  Music  Students  or  Talks  about  Music  and  Music  Life," 
which  you  will  certainly  appreciate  and  desire  to  add  to  your  libraries. 
It  is  very  gratifying  to  note  the  advance  in  the  social  standing  of  our  pro- 
fession. The  National  College  of  Musicians  will  have  a  tendency  to  ren- 
der still  further  aid  in  this  direction.  In  the  same  manner  the  College  of 
Physicians  has  advanced  in  the  same  measure  the  social  standing  of  that 
profession.  In  closing,  let  me  urge  upon  the  profession  the  necessity, 
by  precept  and  example,  of  leading  our  students  to  take  a  broader  view 
of  art;  to  read  history,  biography,  mental  and  moral  science  and  philos- 
ophy. Interest  your  public  library  officials  to  purchase  books  relating  to 
music,  then  suggest  to  your  students  as  they  respectively  need.  As  before, 
I  still  repeat,  do  not  limit  them  to  musical  works.  Have  them  not  only 
learn  everything  of  something,  but  also  something  of  nearly  everything. 
Do  not  allow  dexterity  to  predominate  over  intellectuality.  Musical  litera- 
ture is  being  rapidly  circulated;  and,  with  care  and  discretion,  one  can 
easily  arrange  a  moderate-sized  library,  when  we  can  create  a  genuine 
thirst  for  these  elements  which  will  elevate  and  develop  the  musical  pub- 
lic at  large.  Then  will  the  occupation  of  "Mr.  Tinkle  Sweet"  and 
"Miss  Jolly  Jingle  "  be  gone,  an  age  of  their  artistic  appreciation  be 
ushered  in,  and  the  musical  millennium  near  at  hand. 


A  FEW  THOUGHTS  ON  PIANO  TEACHING  AND 
PIANO  MUSIC,  DERIVED  P^ROM  PER- 
SONAL EXPERIENCE. 


BY  CHAS.    H.    JARVIS,   PHILADELPHIA,  PENN. 


In  treating  of  the  changes  which  have  taken  place  in  the  methods  of 
imparting  instruction  in  music,  it  is  necessary  to  notice  similar  results  in 
every  field  of  activity.  We  live  amidst  a  very  complex  civilization ; 
everything  is  investigated  to  the  minutest  degree  ;  every  branch  of  work 
is  divided  up  into  specialties,  so  much  so,  indeed,  that  oftentimes  it  is 
diflQcult  to  arrive  at  a  very  clear  understanding  of  the  results  attained. 

Music  teaching  in  the  last  thirt}''  or  forty  years  has,  in  the  direction 
of  class  instruction,  developed  into  very  large  proportions.  Every  city 
and  town  in  the  country  of  from  fifteen  to  twenty  thousand  inhabitants, 
and  upwards,  has  its  musical  conservatory,  and  in  the  large  cities  they 
are  increasing  every  year.  Some  of  these  institutions  are  in  a  very  flour- 
ishing condition,  and  do  a  great  deal  towards  cultivating  a  taste  for 
music,  whilst  a  large  number  of  them,  on  the  contrary,  do  a  great  deal 
of  harm,  owing  to  the  bad  quality  of  the  instruction  imparted. 

We  are  in  this  country  unfortunately  situated  with  regard  to  stand- 
ards of  authority.  The  Music  Teachers'  National  Association  is  doing  a 
grand  work  in  this  direction,  in  bringing  together  the  best  talent  of  the 
land,  and  exchanging  views  by  means  of  Essays  and  Discussions  on  all 
points  relating  to  the  proper  methods  of  imparting  instruction,  and 
gradually  establishing  a  high  standard  of  excellence. 

The  Piano-forte  occupies  the  time  and  attention  of  at  least  three- 
fourths  of  the  music  pupils  of  the  land.  It  is  a  much-abused  instru- 
ment. It  requires  to  be  studied  long  and  laboriously  to  give  out  its  hid- 
den beauties.  Piano-playing  is  not  a  hot-house  growth;  great  attention 
at  the  outset  should  be  given  to  a  proper  position  of  the  hands,  and  to  a 
very  carefully  graded  system  of  study,  which  will  cultivate  especially  the 
fingers;  to  avoid  all  unnecessary  forcing  of  the  strength,  thereby  pro- 
ducing a  harshness  in  the  'production  of  tone;  in  fine,  to  arrive  at  a 
truly  musical  performance  (which  comprehends  all  other  requisites),  it 
is  indispensible  that  the  pupil  should  receive  the  best  instruction,  should 
have  the  best  examples  of  Piano-playing,  and  adhere  always  to  well- 
established  principles  of  art. 

At  the  outset  of  my  career  as  a  teacher,  dating  from  1854,  most  of 
the  Piano-teaching  was  carried  on  through  the  channels  of  private 
tuition,  there  being  very  few  music  schools  in  the  country,  and  not  many 
more  in  Europe.    The  selections  for  the  Piano  were  of  a  comparatively 


THOUGHTS  ON  PIANO  TEACHING. 


31 


limited  character,  consisting  largely  of  weak  arrangements  of  operatic 
themes,  a  few  stray  selections  from  Chopin  and  Mendelssohn,  a  few  of 
Beethoven's  Sonatas,  etc.,  etc. 

I  remember  the  first  piece  of  Chopin  I  ever  saw  was  an  edition  of 
Op.  29,  published  in  Philadelphia  by  A.  Fiot;  also,  the  Lieder  ohne 
Worte,  of  Mendelssohn,  published  by  Ditson  &  Co. 

I  heard  for  the  first  time  Mendelssohn's  Concerto  in  G  Minor;  his  ' 
Caprice,  Op.  22,  in  B  Minor,  and  Bermett's  beautiful  Bondopiaenole, 
played  by  the  late  Robert  Heller,  the  famous  magician,  and  who  at  that 
time  was  a  fine  pianist,  a  graduate  of  the  London  Royal  Academy.  He 
had  a  beautiful  touch,  and  a  facile,  brilliant  execution.  This  was  in 
1853-1854.  Shortly  before  that  time  the  German  Orchestra,  with  Alfred 
Jaell,  pianist,  gave  concerts  in  Philadelphia.  Jaell's  playing  was  very 
beautiful,  especially  of  the  compositions  of  Thalberg,  only  second  to  the 
:great  master  himself.  Then,  in  1857,  Thalberg  came  and  electrified  us 
all  by  his  wonderful  rendering  of  his  own  compositions.  I  remember 
how  great  the  impulse  was  he  gave  to  my  own  study  of  the  Piano.  The 
influence  he  exerted  on  Piano-playing  cannot  be  overestimated.  It 
might  be  styled  the  climax  of  the  Legato  school  of  playing,  the  distin- 
guishing characteristic  of  the  old  pianists.  Adolph  Kullak,  in  his  famous 
work  on  the  Touch  in  Piano-playing,  cites  Thalberg  as  being  the  best 
authority  on  Legato  Touch,  and  it  is  a  degenerate  sign  of  the  times  that 
this  high  ideal  has  been  allowed  to  die  out,  and  in  its  place  so  many 
artificial  ways  of  getting  the  sound  out  of  the  Piano  have  come  to  the 
surface. 

Liszt,  with  all  his  greatness  as  a  pianist,  seems  to  me  to  have  had  an 
injurious  influence  upon  piano -playing  ;  his  imitators  have  been  more 
successful  in  copying  his  extravagances  than  in  imitating  his  excellence. 
Fine  legato  playing,  the  singing  quality  it  begets  in  the  performer  makes 
the  most  enduring  impression  upon  the  listener  ;  and  the  time  must  come 
when  the  principles  laid  down  by  the  old  pianists,  and  culminating  in 
the  perfectly-finished  performance  of  Thalberg,  shall  be  fully  recognized 
in  our  musical  institutions. 

With  regard  to  the  comparative  merits  of  class  instruction  and 
private  instruction,  much  might  be  said,  if  time  and  space  would  allow. 
The  piano  is  more  played  to-day  than  ever  before  ;  the  number  of  per- 
formers has  increased  in^proportion  to  the  rapid  growth  of  the  popula- 
tion of  the  country.  The  class  system  meets  the  wants  of  the  constantly- 
increasing  throng  ;  it  is  less  costly  than  private  tuition.  It  has*  this  ad- 
vantage, that  the  ambition  of  the  pupil  is  stimulated,  and  that  brings  in 
its  train  industry  and  application.  Good  results  may  be  obtained  in  the 
technique,  which  may  be  considerably  advanced.  There  is,  however, 
danger  of  the  pupil  acquiring  a  hard,  mechanical  style  of  playing. 
Class  instruction  should  be  supplemented,  if  possible,  by  the  best  private 
tuition.  The  example  of  a  teacher  who  is  also  a  good  pianist  cannot  be 
valued  too  highly.  It  is  the  basis  of  the  future  development  of  the  pu- 
pil ;  if  possessed  of  talent,  individuality  will  assert  itself,  and  this  is  the 


32 


MUSIC  teachers'  national  association. 


great  objective  point  of  all  performance,  and  the  means  by  which  music 
reaches  the  heart  of  the  listener.  We  hear  a  great  deal  in  these  days 
about  tone-development,  analyzing  tone,  etc.,  etc.  The  prevailing  ten- 
dency is  too  much  toward  artificiality  in  piano-playing.  Every  now  and 
then  some  new  method  of  striking  tte  keys  springs  up  to  startle  and  be- 
wilder both  the  teacher  and  pupil.  To  produce  a  good  tone  on  the  piano 
it  is  necessary  to  have  good  models  from  which  to  copy.  It  is  indispensi- 
ble  to  the  pupil  that  every  opportunity  be  taken  to  cultivate  the  taste  by 
constantly  hearing  the  best  music,  and  by  that  means  to  awaken  the 
inner  consciousness.  If  the  pupil  is  possessed  of  talent  and  a  good  hand 
for  the  piano,  there  will  be  no  difficulty  in  developing  a  good  tone  and 
touch.  During  the  last  twenty-five  years,  it  seems  to  me  that  piano- 
teaching  has  undergone  many  changes.  Formerly,  a  teacher  would  have 
a  pupil  for  six  or  seven  years,  witiiout  interruption,  and  in  that  time 
there  was  a  reasonable  prospect  of  developing  a  good  foundation  both  of 
execution  and  taste  ;  but,  nowadays,  one  meets  constantly  with  pupils 
who  have  had  five  or  six  different  instructors  in  as  many  years.  This 
must  be  a  great  drawback  to  genuine  progress,  and  bound  to  produce 
superficial  results. 

W«r  live  in  an  age  that  is  constantly  demanding  something  new. 
Everything  is  at  white  heat ;  the  work  of  ten  years  is  compressed  into 
three  or  four.  There  can  be  no  royal  road  to  good  piano-playing — it 
takes  time  and  work.  As  it  is  the  highest  aim  and  end  of  art  to  hide  art, 
so  to  play  the  piano  well,  and  not  treat  it  as  a  threshing-machine,  it  is 
necessary  to  study  long  and  persistently,  to  submit  to  difficulties  with 
ease  and  naturalness. 

It  is  of  the  first  importance  that  piano  lessons  be  undertaken  early 
in  life,  when  the  fingers  are  flexible  and  pliable.  The  teacher  should  al- 
ways insist  upon  a  proper  position  of  the  hands,  without  stiffness  ;  a 
moderate  study  of  five-finger  exercises,  with  scales  and  arpeggios.  A  well- 
graded  collection  of  studies,  and  afterwards  some  selections  from  a  good 
composer,  combining  both  instruction  and  entertainment.  I  have  found 
in  my  experience  four  hand  playing  productive  of  excellent  results.  It 
teaches  the  pupil  self-reliance,  and  at  the  same  time  develops  a  feeling 
for  rhythm  and  harmony.  The  enjoyment  of  an  orchestral  perform- 
ance of  the  standard  symphonies  and  overtures  is  greatly  enhanced  by 
playing  four-hand.  Piano  arrangements  of  th^ra  beforehand  ;  also,  the 
sight  reading  faculty  is  strengthened  and  improved.  I  remember,  as  a 
boy,  while  taking  lessons  of  my  father,  playing  every  day  some  new 
music  at  sight,  until  I  became  quite  proficient  in  the  art,  and  can  men- 
tion one  or  two  of  my  younger  professional  brethren  with  whom  I  have 
played  four-hands  weekly  for  years,  and  whose  sight-reading  has  devel- 
oped in  a  corresponding  degree.  I  think  sight-reading  is  very  largely  an 
acquired  accomplishment,  although,  to  somt  extent,  a  natural  gift. 

There  is  another  point  about  which  I  will  crave  your  attention,  and 
that  is,  the  excessive  fingering  and  phrasing  all  the  best-known  composi- 
tions have  gone  through.    Any  pupil  of  ordinary  attainments  can  master 


THOUGHTS  ON  PIANO  TEACHING. 


.33 


the  principles  of  fingering,  if  sufficient  attention  is  given  thereto  in  the 
early  stages  of  instruction.  The  abundant  passage  work  which  is  con- 
tained in  the  older  piano  music  affords  the  very  best  opportunity  for  the 
pupil  to  master  the  intricacies  of  fingering,  as  these  are  all  founded  on 
the  scales  and  arpeggios  with  their  varied  changes.  I  cannot  see  the 
necessity  of  having  every  note  fingered,  as  is  the  case  with  most  works 
for  the  piano.  The  pupil  is  never  required  to  exert  his  thinking  powers, 
but  blindly  follows  the  fingering  set  before  him.  Moreover,  many  of  the 
modern  innovations  in  fingering  are  awkward  and  at  variance  with  the 
principles  established  by  the  best  authorities. 

It  is  now  time  to  speak  of  Piano  music  generally,  its  present  condi- 
tion, and  the  changes  it  has  undergone.  There  is  no  doubt  in  my  mind 
that  today  there  is  a  great  dearth  of  good  new  Piano  music.  Our  present 
writers  seem  to  avoid  all  the  lines  laid  down  by  their  predecessors.  The 
principal  living  composers,  Brahms,  Rubinstein,  Tscharkowsky,  Xavier 
Scharwenka,  and  Morzkowski,  in  their  compositions  for  the  Piano,  do 
not  consider  whether  what  they  write  lays  well  to  the  fingers  or  not. 
Very  few  of  Rubinstein's  compositions  are  adapted  to  the  ordinary 
hand,  on  account  of  the  wide-spread  extensions  they  contain;  the  same 
may  be  said  of  Brahms.  One  seldom  meets  with  a  scale  or  arpeggio 
passage  in  any  of  these  writers.  Similar  want  of  adaptation  can  be 
applied  generally  to  modern  vocal  and  string  compositions — in  fact, 
composers  generally  have  appeared  anxious  only  to  express  their 
thoughts,  without  any  special  regard  for  the  instrument  for  which  they 
write.    I  think  this  is  due  to  the  influence  of  Schumann  and  Wagner. 

The  poetic  beauty  and  fancy  of  Schumann's  writings,  especially  for 
the  Piano,  is  beyond  question.  His  compositions,  from  Op.  1  to  Op.  32, 
testify  the  preference  he  had  for  that  instrument;  at  the  same  time  it 
cannot  truthfully  be  said  that  Schumann  wrote  well  for  the  Piano.  His 
Art  creed  led  him  to  say  what  he  had  to  say,  without  regard  to  the  form 
and  medium  of  expression ;  in  this  he  differed  very  much  from  his  great 
contemporary,  Mendelssohn,  who  always  expressed  himself  in  the  most 
polished  and  artistic  manner,  and  although  not  possessed  of  Schumann's 
forceful  and  rugged  genius,  his  complete  and  many-sided  musical  educa- 
tion made  him  master  of  the  forms  of  expression  upon  every  instrument. 
It  has  been  the  fashion  of  late  years  to  extol  Schumann  at  the  expense 
of  Mendelssohn,  but  I  think  unjustly,  as  Mendelssohn  has  been  the 
means  of  resuscitating  the  works  of  John  Sebastian  Bach,  in  many 
respects  the  greatest  of  all  musicians;  and  he  has  also  succeeded  in 
building  up  a  highly  original  style  of  composition  (I  allude  to  the 
"Elfen"  music),  which  undoubtedly  has  its  inspiration  from  Bach,  but 
under  the  exquisite  master  hand  of  Mendelssohn  has  developed  into  an 
entirely  new  creation.  In  this  form  of  writing  he  certainly  has  surpassed 
all  his  imitators,  and  they  have  been  many.  What  is  there  in  the  whole 
range  of  Piano  music  since  his  time,  to  equal  his  well-worn  "Rondo 
Capriccioso  "  Op.  14?  and  how  diflacult  it  is  to  play  in  a  thoroughly 
finished  and  artistic  manner. 


34 


MUSIC  teachers'  national  association. 


I  have  dwelt  upon  Mendelssohn  and  Schumann,  as  they,  with  Chopin 
(who  occupies  a  position  in  the  world  of  Piano  art  sui  generis),  have 
affected  powerfully  all  composers  since  their  time,  and  indeed  it  might 
almost  be  said  that  there  has  been  no  individual  style  created  since  the 
era  of  these  eminent  men. 

If  I  may  be  allowed  to  trespass  upon  your  time,  a  few  words  about 
the  proper  course  of  study  for  a  Piano  pupil  of  talent  and  ability  might 
not  be  amiss.  After  having  passed  through  the  beginner's  period,  the 
pupil  has  a  rich  fund  of  enjoyment  to  extract  from  the  literature  of  the 
Piano,  which  is  the  most  extensive  and  varied  in  the  entire  musical  art. 
The  pupil  should  early  become  acquainted  with  the  Rondo  and  Sonata 
forms,  such  beautiful  examples  of  which  he  will  find  in  the  Piano  com- 
positions of  Haydn,  Mozart,  Clementi,  Dussek,  and  their  successors. 
There  is  also  a  wealth  of  Salon  music,  composed  during  the  first  half  of 
this  century,  which  is  much  neglected  and  which  serves  an  excellent 
purpose  in  educating  the  fingers  thoroughly,  and  lending  grace  and 
refinement  to  the  execution.  There  are  many  pieces  by  Hiinten  and 
Herz,  familiar  writers  of  forty  and  fifty  years  ago,  which  are  of  great 
service  in  teaching,  and  which  have  never  been  replaced  by  composers 
of  the  present  day.  There  seems  to  have  been  a  concerted  effort  made 
by  the  upholders  of  modern  ideas  of  art  to  belittle  the  works  of  such  a 
writer  as  who  has  done  so  much  to  develop  " passage  work" 

on  the  Piano.  Hummel  was,  unfortunately  for  him,  a  contemporary  of 
the  great  Beethoven,  and  consequently  has  never  received  his  just 
deserts.  He  has  contributed  some  splendid  work  in  his  Concertos  in  A 
Minor,  B  Minor,  and  A  flat  Major.  These  are  masterpieces  of  construc- 
tion and  difficulty,  and  it  seems  very  strange  to  me  that  they  are  not 
heard  more  fervently  in  the  concert  room.  No  less  a  master  than  the 
late  Adolph  Henselt,  who  I  believe  was  a  pupil  of  Hummel  for  a  time, 
has  edited  these  Concertos  in  a  very  able  manner. 

Hummel's  smaller  compositions  for  the  piano  abound  in  solid  work, 
and  at  the  same  time  are  full  of  elegance  and  refinement,  as,  for  instance, 
Eondo  op.  11,  Et> ,  Rondo  "La  Galante,"  Rondo  in  B  minor,  op.  109  (one 
of  his  late  compositions,  and  full  of  difficulty);  his  lovely  "La  Bella  Ca- 
priciosa,"  of  55.  The  larger  works  are  13  and  20, two  sonatas  in  Eb,  andF 
minor.  Grand  Sonatas  op.  106  and  81, Quintette  op.  87,  piano  and  strings, 
the  celebrated  Septette  for  piano,  wind  and  strings,  op.  79,  and,  finally,  the 
beautiful  Sonata  for  foar  hands,  op.  92  in  Ab  .  All  are  works  of  finished 
beauty,  and  deserve  to  be  constantly  heard.  There  are  many  composi- 
tions by  Herz,  which  furnish  excellent  material  for  the  young  student. 
Fantasias  on  operatic  themes,  and  a  number  of  original  compositions 
admirably  written  for  the  piano.  Three  or  four  of  his  concertos  are 
highly  ornate  and  finished  compositions,  full  of  difficulties,  and  all  of  a 
legitimate  kind.  Kalkbrenner  has  also  written  brilliant  piano  music, 
especially  his  concertos,  although  not  so  solid  as  either  Hummel's  or 
Moseheles'  Thalberg's  fantasies,  and  four  or  five  of  his  original  com- 
positions are  fine  examples  of  genuine  piano  music,  and  should  take  a 


THOUGHTS  ON  PIANO  TEACHING.  35 

prominent  share  in  the  course  of  study  laid  out  in  our  musical  institu- 
tions. In  the  way  of  studies  and  etudes,  the  field  of  piano  music  is  very 
extensive,  and  here,  to  a  large  extent,  we  have  to  rely  upon  the  old  com- 
posers. Who,  of  our  modern  writers,  has  been  able  to  compete  with 
Czerny,  Cramer  and  Clementi  in  the  valuable  work  they  have  done  for  the 
student;  also  Kalkbrenner  and  Moseheles,  whose  studies  are  their  best 
offering  to  the  shrine  of  music.  Bertini,  Aloise  Schmidt,  Chas-  Mayer, 
among  many  others,  have  all  done  valuable  work  in  the  same  direction, 
besides  many  other  compositions  of  an  instructive  kind.  Chas.  Mayer 
has  written  many  beautiful  pieces  for  the  piano,  which  are  now  voted 
old-fashioned.  Bertini  has  written  valuable  arrangements  for  four  hands, 
of  operatic  themes,  some  of  them  are  exceedingly  effective  and  brilliant. 
I  speak  thus  of  so  many  writers  who  have  grown  obsolete,  because  I  have 
taken  pains  to  examine  closely  all  the  literature  of  the  piano.  Besides 
being  very  actively  engaged  in  teaching  for  twenty-five  or  thirty  years,  I 
have  given  annually  six  chamber  concerts  since  1862,  closing  my  twenty- 
sixth  year  last  winter,  during  which  time  I  have  introduced  over  five 
hundred  compositions  for  piano  solo  and  ensemblg  music  with  piano, 
and  have  discovered  many  beautiful  things,  which,  otherwise,  would 
never  have  been  given  a  hearing. 

Since  the  era  of  the  great  classical  composers,  Mendelssohn  claims 
the  first  place  for  his  contributionss  and  the  literature  of  the  piano.  His 
caprices,  concertos,  variations,  serienses,  Yariations,  op.  82  and  83,  his 
Lieder  Ohne  Worte,  are  all  works  of  a  highly-finished  character.  The 
larger  compositions  have  abundant  "passage  work"  (in  which  he  has 
followed  the  footsteps  of  his  predecessors),  and  are  highly  original, 
effective  and  brilliant,  and  what  we  would  expect  from  so  gifted  an  art- 
ist as  Mendelssohn  was.  It  might  not  be  out  of  place  here  to  institute 
a  comparison  between  the  piano  writings  of  Mendelssohn  and  Schumann. 
Take  for  instance,  Schumann's  Concerto  in  A  minor,  than  which  there 
is  nothing  more  charmingly  poetical  in  the  whole  range  of  music,  and 
yet  it  lacks  the  brilliancy  and  compactness  of  Mendelssohn's  concertos, 
from  the  absence  of  scales  and  arpeggios  in  appropriate  combination  and 
contrast. 

Another  composer,  a  contemporary  of  Mendelssohn  and  Schumann, 
who  claims  the  attention  of  the  Piano  student,  was  the  late  Stephen 
Heller.  It  is  a  sad  commentary  upon  the  ingratitude  which  the  world 
shows  to  its  great  artists,  that  such  a  man  should  have  outlived  his  use- 
fulness. Stephen  Heller's  compositions,  mostly  for  the  Piano,  although 
considerably  influenced  by  both  Mendelssohn  and  Schumann,  are  full  of 
beauty,  originality  and  elegance.  His  sets  of  pieces  of  a  descriptive 
character, — "Dans  les  Bois"  (three  books),  "  Wanderstiinden,"  "Les 
Nuits  blanches,"  and  many  of  his  Etudes — are  really  musical  gems  of 
the  first  water,  while  his  transcriptions  of  some  of  the  songs  of  Mendels- 
sohn and  Schubart  take  rank  with  the  best  Piano  music.  How  much  a 
pupil  should  study  of  Liszt  must  depend  largely  upon  natural  endow- 
ments.   He  makes  great  demands  upon  the  strength  and  endurance  of 


36 


MUSIC  teachers'  national  association. 


the  scholar,  and  there  is  not  one  in  ten  who  can  master  his  difficult 
works,  and  I  think  the  tendency  of  much  of  it  is  to  stiffen  the  hand  audi 
produce  hard,  unmusical  playing.  A  few  of  his  original  compositions, 
such  as  Waldesrauschen,  Au  herd  d'une  Source,  Les  Feuxfollets,  are  highly 
instructive,  graceful,  and  effective  compositions.  Many  of  his  transcrip- 
tions, operatic  and  otherwise,  while  being  very  brilliant,Sdraw  too  much 
upon  the  strength  of  the  performer.  Among  the  very  best,  I  would 
mention  La  Campanella  (Paganini),  Faust  Waltz,  Rigoletto  .and  the  Para- 
phrase, Midsummer  Nighfs  Dream.  Liszt's  most  enduring  monument  is 
undoubtedly  his  transcription  of  Schubert's  songs,  in  which  he  has  {suc- 
ceeded in  combining  the  intricate  and  difficult  accompaniments  of  Schu- 
bert with  the  song  in  the  most  able  and  skillful  manner,  and  for  the 
advanced  student  of  the  Piano  this  is  most  invaluable.  Of  the|more 
recent  composers,  Raff  has  bequeathed  some  lovely  pieces  to  the  Piano 
student — Styrisnne,  Barcarolle  op.  IJfS,  his  masterly  Suite  op.  91,  in  four 
parts,  and  some  of  his  Etudes,  are  all  fine  Piano  music.  Likewise  men- 
tion should  be  made  of  Haherlier,  whose  Etudes  poesies  abound  in  grace 
and  beauty.  Adolph  Jensen,  a  follower  of  Schumann,  and  afterwards  a 
devotee  of  Wagner,  has  written  charming  morceaux  of  a  highly  descrip- 
tive character.  His  Idyl'en,  Erotikon,  Innere  Siucke.  his  lovely  Etudes, 
and  many  other  works,  are  amongst  the  very  best  contributions  we  have 
had  to  the  literature  of  the  Piano  since  the  days  of  Chopin,  Mendelssohn 
and  Schumann. 

The  most  advanced  technique  of  the  Piano  is  to  be  found  in  the 
Grand  Etudes  of  the  eminent  pianists,  Chopin,  Henselt,  Thalherg  and 
Liszt,  and  there  is  also  one  writer,  a  follower  of  Thalberg,  Theodore 
Dohler,  whose  twelve  Etudes  of  30,  deserve  a  greater  notoriety  than  they 
possess. 

I  have  purposely  left  to  the  last  any  consideration  of  the  works  of 
Beethoven  and  Chopin,  for  the  reason  that  I  regard  them  as  represent- 
ing, although  in  a  different  way,  the  highest  development  yet  attained 
in  artistic  form — Beethoven  in  the  Sonata,  and  Chopin  in  the  Dance- 
form. 

It  is  my  opinion  that  the  compositions  of  Beethoven  and  Chopin 
should  not  be  played,  or  at  least  not  to  any  extent,  until  the  pupil  has 
had  a  long  training  upon  the  Piano.  Beethoven's  Sonatas  require  an 
accuracy  of  execution,  and  cultivated  ideas  of  phrasing  and  interpreta- 
tion, which  demand  of  the  pupil  long  preliminary  training  in  "passage 
work,"  in  other  words  he  must  be  able  to  master  greater  mechanical 
difficulties  than  Beethoven's  Sonatas  present,  before  he  can  interpret 
musically  the  thoughts  of  that  master  mind.  The  same  may  be  said  of 
Chopin  in  a  lesser  degree:  the  delicacy  and  poesy  of  Chopin's  writings 
require  the  most  cultivated  technique;  the  "Bubato"  in  Chopin,  the 
great  charm  of  his  muse,  takes  a  great  control  of  rhythm,  only  to  be 
attained  by  long  experience  and  practice. 

Amidst  all  this  mass  of  work  which  is  necessary  to  complete  the 
education  of  a  Piano  student,  there  is  one  writer  whose  works  should 


THOUGHTS  OK  PIANO  TEACHING. 


37 


form  part  of  the  daily  study  of  every  earnest  student  of  the  Piano 
through  every  stage  of  his  progress,  and  he  is  John  Sebastian  Bach,  to 
whom,  as  Schumann  says,  music  owes  as  great  a  debt  as  any  religion  to 
its  founder.  The  influence  he  exerts  is  invaluable.  No  one  who  studies 
his  works  thoroughly  can  fail  to  have  a  sound,  healthy  taste  and  judg- 
ment, and  a  full,  round  and  sympathetic  touch  and  technique  upon  the 
Piano. 

We  live  in  a  period  of  the  greatest  activity.  What  the  future  of  our 
art  will  be,  is  purely  a  matter  of  speculation.  I  think  all  genume  prog- 
ress and  advancement  must  depend  upon  faithfully  cherishing  the  best 
traditions  of  the  past — venerating  to  the  utmost  our  great  composers,  and 
making  their  works  our  highest  models. 


WOMAN  IN  MUSIC. 


BY  FANJSY  BLOOMFIELD-ZEISLER,  OF  CHICAGO. 

Ladies  and  Oentlemen:  The  proper  treatment  of  any  subject  involves 
the  examination  of  the  principles  governing  the  same.  It  therefore  re- 
quires no  apology  if  I  do  not  strictly  keep  within  the  boundaries  indi- 
cated by  the  letter  of  my  theme. 

The  position  of  woman  in  music,  her  possibilities  and  limitations  in 
that  field,  are  controlled  by  the  rules  applicable  to  the  intellectual  limita- 
tion of  the  sexes  in  general. 

In  thus  suggesting  that  there  are  any  limitations,  intellectual  or 
otherwise,  even  on  the  male  side  of  creation,  I  hope  I  shall  not  forfeit 
the  good  graces  of  my  male  colleagues,  a  loss  which  I  should  look  upon 
as  quite  disastrous,  especially  in  view  of  the  fact  that  I  shall  have  ta 
play  before  you  on  Friday  night. 

Right  in  the  outset,  I  desire  to  define  my  position  with  reference  to 
the  proper  place  of  women  in  the  various  activities  of  life.  I  am  far 
from  being  a  fanatical  apostle  of  what  may  in  one  general  term  be  styled 
"Woman's  Emancipation." 

Irfreely  admit  the  existence  of  many  fields  of  intellectual  activity 
upon  which  women  never  do  or  can  trespass  without  sacrificing  their 
more  delicate  or  sensitive  nature,  the  "  ewig  weibliche"  (ever  womanly), 
immortalized  by  Goethe,  the  greatest  charm  of,,woman,  in  my  humble 
estimation.  Thus,  for  instance,  I  do  not  like  to  see  a  woman  take  an 
active  part  in  politics  or  pleading  in  a  courtroom,  although  so  great  an 
authority  as  Emerson  says  :  "  Circumstances  may  be  easily  imagined  in 
which  women  may  speak,  vote,  argue  causes,  lesfislate,  and  even  drive  a 
coach,  and  all  most  naturally  in  the  world  ;  it  only  comes  by  degrees." 

Now,  to  come  to  a  closer  definition  of  the  comparative  intellectual 
characteristics  of  the  sexes.  A  great  philosopher  once  said  that  women 
think  with  ther  hearts,  while  men  feel  with  their  brain.  This  may  not 
be  absolutely  true  in  all  its  logical  consequences,  but  it  certainly  is  a  fact 
that  women  allow  their  sentiments  to  influence  their  judgment  in  a  high 
degree.  In  men  the  intellectual  faculties  exist  more  self -poised  and  self- 
directed,  more  independent  of  the  rest  of  the  character,  than  we  find  it 
in  women,  whom  talent,  however  prominent,  is  in  much  greater  measure 
modified  by  sympathetic  and  moral  qualities. 

To  the  one  sex  has  been  given  in  large  measure  strength,  to  the  other 
beauty;  to  the  one  aggressive  force,  to  the  other  winning  affection;  to 
the  one  the  palm  in  the  empire  of  thought,  to  the  other  the  palm  in  the 
empire  of  feeling. 


WOMAN  IN  MUSIC. 


39 


The  ancient  philosophers  had  such  good  opinion  of  our  sex  that 
they  ascribed  all  arts  to  the  muses,  all  sweetness  and  morality  to  the 
graces,  and  all  prophetic  inspiration  to  the  sybilis— all  women. 

Certain  it  is  that,  in  all  things  that  appeal  to  the  heart,  and  that  in- 
volves the  exercise  of  the  finest  sensibilities  of  a  sympathetic  nature,  as 
in  all  departments  of  art,  woman  cannot  only  be  equal,  but  even  the 
superior  of  man,  while  she  is,  at  least  in  the  present  condition  of  devel- 
opment, almost  excluded  from  the  investigation  of  the  laws  of  the  exact 
sciences,  notwithstanding  a  few  exceptions,  as,  for  instance,  the  two 
ladies  who  recently  won  the  honors  of  their  respective  classes  at  Cam- 
bridge University,  England. 

Among  all  the  arts,  music  is  the  most  favored  at  the  present  time, 
and,  being  the  art  of  motion  par  excellence,  it  is  no  wonder  that  women 
should  so  industriously  and  enthusiastically  devote  themselves  to  its 
cultivation. 

The  art  of  music  has  two  very  distinct  branches,  the  creative  and 
the  reproductive. 

About  the  latter  and  woman's  part  in  it,  little  need  be  said. 

I  am  confident  that  even  those  who  are  least  inclined  to  credit  our 
sex  with  any  mental  capacity  will  admit  that  women  have  reached  the 
highest  pinacle  of  fame,  and  deservedly  so,  in  the  various  kinds  of  repro- 
ductive music. 

They  have  produced  some  of  the  greatest  singers,  pianists  and  vio- 
linists who  were  and  are  recognized  as  most  eminent  exponents  of  their 
respective  arts. 

Whether  there  are  any  particular  characteristics  distinguishing  the 
performances  of  men  from  those  of  women,  is  a  debatable  question. 

There  are  people  who  claim  that,  as  a  general  rule,  there  is  to  be 
found  more  breadth  and  power  in  the  work  of  men,  and  more  grace  and 
sentiment  in  that  of  women. 

They  speak  of  manly,  in  contradistinction  to  effeminate  interpre- 
tation. 

They  claim  that  men  are  peculiarly  fitted  for  the  rendition  of  the  more 
serious  types  of  music,  such  as  Bach,  Beethoven,  Brahms,  etc.,  while 
women's  best  work  is  in  the  interpretation  of  the  more  poetic,  romantic 
and  sentimental  music  of  Chopin,  Schumann  and  Mendelssohn,  etc. 

While  I  admit  that,  up  to  a  certain  degree  of  efficiency,  these  dif- 
ferences might  be  discernible,  I  do  issist  that  they  disappear — nay,  more 
than  that,  change  places,  if  anything,  among  those  artists  of  both  sexes 
who  have  reached  the  highest  development  in  the  art  of  interpretation. 

We  find  many  male  artists,  recognized  as  peers  in  the  profession, 
especially  pianists,  whose  renditions  are  characterized  by  delicacy  and 
tenderness  of  conception,  like  Pachmann,  to  name  only  one,  while  some 
women  show  a  decidedly  masculine  spirit  in  their  playing  ;  I  only  need 
to  remind  you  of  Sophie  Menter. 

But,  with  all  that,  it  can  hardly  be  denied  that,  as  a  general  rule, 


40 


MUSIC  teachers'  national  association. 


even  among  the  greatest  artists,  men  belong  to  the  objective,  women  to 
the  subjective  class  of  interpreters. 

Men  usually  have  the  capacity  for  concentrating  their  thoughts 
more  strictly  upon  their  mental  work,  and  to  place  themselves  outside, 
as  it  were,  of  the  composition  they  attempt  to  render. 

A  woman  puts  her  innermost  soul  into  everything  she  undertakes  ; 
her  momentary  feeling,  her  humor,  always  effects  her  iuterpretatiou.  It 
is  this  subjectivity  that  renders  her  performance  so  fascinating. 

She  allows  her  temperament  to  carry  her  away,  but  it  is  this  surren- 
der of  her  whole  nature  to  her  chosen  art  that  makes  woman's  position 
in  reproductive  art  unique. 

We  now  come  to  the  more  important  branches— Creative  Art  in 
Music. 

Until  recently,  it  was  perfectly  justifiable  to"doubt  the  possibility  of 
women  possessing  creative  artistic  powers  in  any  branch  of  the  art. 

Receptive  Faculties — They  have  always  had  ready  and  vivid  percep- 
tion of  the  beautiful  in  art,  delicate  discrimination  and  refined  taste,  and 
especially  in  music  the  power  of  reproducing  what  the  genius  of  man 
created. 

But  to  originate  any  work  of  even  second  rate  merit  was  what  no 
woman  had  done. 

No  literary  work  of  any  significance  had  ever  been  produced  by  a 
woman,  if  we  except  Sappho  and  a  few  other  half -legendary  characters, 
and  with  the  exception  of  Miriam  and  Deborah  no  woman  was  ever 
credited  with  the  production  of  even  a  national  song. 

Neither  had  they  achieved  any  success  in  painting,  architecture  or 
sculpture  (always  with  a  few  exceptions,  which  only  prove  the  rule). 

They  applied  themselves  to  domestic  duties,  the  only  thing  which 
the  world  considered  proper  for  them. 

Women  were  looked  upon  as  physically  and  mentally  unfitted  to 
compete  with  men  in  any  of  their  occupations;  indeed  it  was  thought 
indecorous  for  them  to  do  so. 

They  were,  as  Macaulay  puts  it,  humble  companions,  playthings, 
menials,  and  beasts  of  burden.  But  now  things  and  opinions  have 
changed.  The  liberal  spirit  of  modern  times,  inaugurated  by  the  revo- 
lution at  the  end  of  the  last  century,  has  altered  the  position  of  woman 
in  public  and  social  life. 

As  soon  as  her  chains  were  lightened,  we  find  a  Rosa  Bonheur  paint- 
ing animals  like  Landseer,  a  Mrs.  Butler  producing  war  pictures  worthy 
of  a  Wouvermans,  a  Harriet  Hosmer  creating  her  Zenobia. 

And  if  we  enter  the  field  of  literature,  the  number  of  women  who 
have  immortalized  their  names  becomes  legion. 

Not  only  have  they  shown  their  genius  in  originality  of  invention, 
but  some  of  them  have  created  a  style  of  their  own,  and  have  exhibited 
as  manly  and  earnest  a  spirit  as  any  of  the  great  poets  of  all  times. 

I  only  mention  George  Eliot,  George  Sand,  Madame  de  Stael,  Fanny 
Lewald,  Mrs.  Browning,  in  proof  of  my  assertion. 


• 


WOMAN  IN  MUSIC.  41 

In  the  creative  branch  of  MUSIC,  however,  woman's  genius  has  as 
yet  not  had  very  great  triumphs. 

Creative  force,  spontaneity  of  invention,  and  the  power  of  combina- 
tion, so  far  as  musical  composition  is  concerned,  seem  to  have  been 
vouchsafed  to  them  only  in  such  small  measure,  that  really  great 
achievements  in  this  direction  have  been  out  of  the  question. 

No  female  composer  has  as  yet  created  an  era,  none  has  as  yet 
marked  her  path  by  immortal  works. 

Some  people  seem  to  question  whether  this  is  a  deplorable  state  of 
affairs.  At  least  there  is  one  written  authority  for  the  claim  that  a 
woman  who  composes  commits  two  sins:  she  increases  the  number  of 
compositions  and  decreases  the  number  of  women. 

However,  it  is  a  peculiar  phenomenon,  worthy  of  some  little  investi- 
gation, that  while  women  have  achieved  great  triumphs  in  the  field  of 
literature  and  to  a  great  extent  in  the  arts  of  painting  and  sculpture, 
they  have  been  unable  to  gain  any  position  as  composers. 

Many  of  the  qualities  which  properly  belong  to  a  composer,  their 
bitterest  antagonist  must  concede  them  to  possess:  the  tendency  to  ideal- 
ize, the  fervid  fancy,  and  the  intuitive  sense  of  beauty. 

What  they  lack  is  the  power  of  extending  their  observations  over  a 
large  range  of  facts  before  forming  general  conclusions;  they  lack,  as 
we  have  observed  before,  the  power  of  concentration. 

They  lack  the  power  of  self-observation  of  their  own  thoughts,  also 
the  power  of  self-criticism  and  objective  judgment  of  the  production  of 
their  own  minds.  Moreover,  the  art  of  composition  is  full  of  technical 
intricacies,  rules  as  exact  as  those  of  mathematics.  It  requires  not  only 
hard  and  earnest  study  of  the  rules,  but  the  work  of  applying  them  is 
quite  as  serious  a  business. 

And  here  I  come  to  what  I  think  is  the  explanation  of  the  above- 
mentioned  problem,  namely,  why  women  have  accomplished  so  much 
less  in  musical  composition  than  in  any  other  branch  of  creative  art. 
The  reason  is  this,  because  music  is  the  most  abstract  ef  arts,  and  on  the 
other  hand  the  most  bound  by  mathematical  rules. 

For  all  the  other  arts  we  have  the  great  model — Nature.  When  we 
paint,  chisel  or  write,  we  perhaps  idealize,  but  we  have  a  basis  or  back- 
ground of  reality. 

But  in  music  we  live  in  an  ideal  world  created  by  our  own  imagin  • 
ings.  As  Arthur  Schopenhauer  so  aptly  phrases  it,  "  music  differs  from 
other  arts  in  being  a  presentative  and  not  a  representative  art. 

Women,  somehow  or  other,  are  not  inclined  to  be  bound  by  any 
technical  rules. 

As  Balzac  says,  "Most  women  proceed  like  the  flea,  by  leaps  and 
jumps.  Not  very  sesthetical,  but  alas,  too  true.  Composition  is  some- 
what like  reasoning  out  syllogisms  according  to  the  strict  rules  of  logic. 
But  "women,"  to  quote  Bishop  Whately,  "never  reason,  or  if  they  do, 
they  either  draw  correct  inferences  from  wrong  premises,  or  wrong 


42 


MUSIC  teachers'  national  association. 


inferences  from  correct  premises;  and  they  always  poke  the  fire  from  the 
top." 

Again,  it  seems  that  in  order  to  achieve  greatness  in  composition, 
something  more  is  required  than  the  invention  of  merely  new  melodies, 
however  charming  they  might  be. 

There  is  no  good  reason,  that  I  can  think  of,  why  beautiful  melodies 
should  not  flow  from  the  imagination  of  women. 

But  that  alone  does  not  make  a  great  composer. 

I  lately  attended  the  performance  of  a  comic  opera.  It  was  full  of 
delightful  music,  charming  melodies,  very  interesting  instrumentation. 
I  spent  a  delightful  evening,  but  I  had,  nearly  all  the  time,  the  same 
feeling  as  when  I  come  to  the  Music  Teachers'  National  Association — at 
every  turn  I  see  a  familiar  face;  I  just  felt  like  taking  those  melodies  by 
the  hand  and  saying  to  them,  "Hello,  old  fellow,  glad  to  see  you;  how 
have  you  been  all  this  time." 

A  composition  may  be  ever  so  beautiful,  still  if  the  style  is  merely 
an  imitation  of  another;  if  even  a  musical  critic  will  be  deceived  into 
taking  it  for  the  work  of  some  recognized  composer,  it  cannot  be  called 
great. 

A  person  might  ever  so  successfully  imitate  the  style  of  a  Beethoven 
or  a  Wagner,  still  he  could  only  be  compared  to  a  comedian,  who  imi- 
tates the  gestures,  the  accent,  the  mannerisms  of  some  great  actor,  with- 
out sharing  the  creative  power  of  his  genius. 

Dixey's  imitation  of  Irving  is  one  of  the  cleverest  pieces  of  acting  I 
ever  saw,  still  Dixey  is  not  Irving.    Schiller  says  in  his  Wallenstein  ; 

'•Wie  er  sich  rauspert,  wie  er  spuckt, 
Das  hat  er  ihm  glucklich  abgeguckt." 

A  person,  to  become  great  as  a  composer,  must  be  a  pathfinder,  as  it 
were;  new  methods  are  not  sufficient,  originality  of  style  is  also  an 
essential  requisite. 

No  woman  has  as  yet  entitled  herself  to  credit  for  the  latter,  and  as 
long  as  that  element  will  be  wanting,  it  strikes  me  that  woman  would 
show  extremely  good  sense  in  not  attempting  to  any  great  extent  to  be 
active  in  a  field  in  which  they  would  not  get  beyond  mediocrity,  an 
example  which  some  men  would  be  wise  to  follow. 

That  potentially  those  elements,  which  so  far,  we  find  lacking  in 
woman  do  not  exist,  I  am  not  willing  to  admit.  They  are  probably  only 
slumbering. 

Many  scientists  of  high  standing  maintain  that  woman's  brain  is  by 
nature  smaller,  lighter,  of  more  delicate  fabric,  and  to  that  cause  they 
attribute  all  intellectual  deficiencies  noticeable  in  woman. 

All  this  might  be  true,  and  still  we  need  not  give  up  the  hope  of 
ultimate  success,  even  in  those  directions  in  which  woman  nowadays 
must  be  admitted  to  be  inferior  to  men. 

A  child's  brain  is  certainly  small,  and  of  delicate  texture,  and  still 

/ 


WOMAN  IN  MUSIC. 


4a 


under  the  influence  of  education,  we  see  it  grow  and  develope  to  a  degree 
of  capacity  sufficient  to  cope  with  the  most  intricate  problems  of  science. 

We  speak  of  whole  nations  as  being  in  a  condition  of  infancy, 
morally  and  intellectually,  and  we  have  seen  wonders  in  their  develope- 
ment  under  the  benign  influence  of  civillization.  I  claim  that  woman's 
intellect  is  far  from  having  reached  its  ultimate  developement.  As  there 
are  whole  nations  which  are  intellectually  and  morally  in  a  condition  of 
infancy,  as  a  child's  mind  is  undeveloped,  though  full  of  promise,  in  its 
early  existence,  thus,  until  comparitively  recent  times,  was  woman  by 
being  excluded  from  intellectual  pursuits  in  a  condition  of  childhood 
in  reference  to  her  mental  developement. 

It  cannot  be  expected  that  woman  should  in  one  or  two  centuries 
reach  in  every  direction  the  same  degree  of  developement  as  man,  whose 
mind  has  been  improved  by  constant  application  to  the  problems  of 
science  and  the  work  of  art  for  thousands  of  years. 

Woman's  inferiority  in  musical  composition  may  be  safely  attributed 
to  the  unfavorable  condition  under  which  she  has  thus  far  labored. 

There  has  existed,  and  exists  to  this  day,  the  most  obstinate  preju- 
dice against  female  composers.  They  have  until  within  a  half  century 
been  excluded  from  all  higher  schools.  They  have,  by  the  social  condi- 
tions of  former  times,  been  assigned  almost  exclusively  to  menial  duties^ 
I  have  no  doubt  that  now,  when  these  social  barriers  have  been  removed, 
when  woman  receives  the  benefit  of  a  liberal  education,  she  will,  even  in 
this  field  of  art,  develop  in  a  high  degree,  her  creative  powers. 

Very  few  women  have  thus  far  had  the  courage  to  appear  before  the 
world  as  composers,  and  for  that  reason  no  final  judgment  can  or  should 
be  formed  as  to  the  scope  of  their  faculties  in  that  field. 

During  the  last  years  we  have  at  all  events  had  some  promise  for 
better  things  in  the  future:  Mile.  Chaminade  (who  is  Moszkowski's  sister- 
in-law)  Marie  Jaell,  Augusta  Holmes,  Clara  Schumann,  and  above  all 
Ingeborg  von  Bronsart,  whose  operas,  "King  Hiarne"  and  "Jerry  and 
Bately,"  the  latter  on  a  text  by  Goethe,  have  done  more  or  less  creditable 
work,  the  latter's  opera  having  had  the  honor  of  numerous  public 
performances. 

But  to  reach  the  highest  degree  of  perfection  in  this  branch  of  art 
it  is  necessary  that  it  should  be  seriously  pursued. 

The  true  artist  spirit  grudges  no  amount  of  preparatory  study,  no 
labor  of  final  completion.  It  is  this  spirit  that  woman  has  too  often 
lacked,  fondly  imagining  that  her  intutiveness  would  do  duty  for 
patience,  and  her  tact  cover  the  defect  of  study. 

If  woman's  work  is  to  be  a  meritorious  contribution  to  musical  litera- 
ture, they  must  conscientiously  pursue  all  the  preparatory  studies,  they 
must  aim  at  conscientious  veracity  of  expression,  clearness  of  thought, 
and  symmetry  of  form.  They  must  learn  to  be  objectives  and  avoid  that 
fault,  which  was  aptly  expressed  by  a  writer,  whose  name  I  cannot  recall, 
thus:  "The  universal  trouble  with  female  composers  is,  that  they  pitch 


44 


MUSIC  teachers'  national  association. 


their  ennthusiasm  two  or  three  notes  too  high,  just  as  in  chirography 
they  deal  too  liberally  in  itOilics." 

But  after  all,  even  though  woman  has  a  long,  weary  and  thorny 
path  before  her  before  she  may  become  equal  to  man  in  musical  compo- 
sition, still  her  position  in  music  is  even  now  assured. 

What  we  need  now  is  not  to  imitate  man,  and  try  to  become  great  in 
a  field  in  which  he  has  achieved  success,  but  to  develop  those  qualities 
which  specifically  belong  to  woman ;  then,  and  then  only  will  we  be  the 
true  equal  of  man;  in  different  spheres,  in  different  directions  to  be  sure, 
but  equal  in  the  degree  of  greatness  in  those  spheres  to  which  they 
cannot  follow  us. 

May  it  then  be  said,  ''She  came,  was  heard,  and  conquered." 


AMERICAN  COMPOSITION. 


BY  JOHN  S.  VAN  CLEVE,  CINCINNATI,  O. 

The  tripartite  division  which  Julius  Caesar  assigns  to  Gaul,  and  the 
statement  of  which  forms  the  famous  first  sentence  in  his  immortal 
annals,  might  without  much  wresting  or  straining,  be  applied  to  the  spir- 
itual domain  of  musical  composition,  and  we  might  say  all  this  nephalo 
coreggia,  this  cloud-cuckoo-land  (to  borrow  a  famous  allegory  of  Aris- 
tophanes), may  be  divided  into  three  parts:  the  past,  the  present,  and 
the  future.  We  must  then  ask  ourselves  three  questions:  What  have 
American  musicians  done  in  the  way  of  musical  composition?  what  are 
they  now  accomplishing?  what  may  they  hope  to  do  in  the, future? 

The  historical  division  may  be  safely  left  to  the  annalist,  since  it 
would  lead  us  through  a  wide  excursion,  and  the  history  of  Yankee 
Hymnology,  with  Lowell  Mason  as  its  high  priest;  of  that  one  original 
American  product,  the  African  song  (both  genuine  and  spurious),  grow- 
ing as  it  often  did  like  a  gourd  in  the  night,  indigenous  upon  the  South- 
ern soil  and  in  the  steaming  tropical  atmosphere  of  a  per-fervid  devo- 
tional assembly,  or  the  imitation  African  song  of  Stephen  A.  Foster  and 
all  his  confreres,  also  the  vast  swarming  hosts  of  flies  and  vexing  gnats 
that  bear  the  envied  name  of  "popular  songs"  and  piano  compositions — 
all  these  may  be  safely  relegated  to  the  discussion  of  others,  and  the  two 
remaining  subjects,  namely,  what  are  present  musicians  doing?  and 
what  may  we  hope  for?  will  amply  occupy  the  scope  of  our  present  dis- 
cussion. 

In  music,  as  in  literature,  every  creative  mind  is  a  link  in  a  chain,  a 
chain  whose  ends  are  out  of  sight,  prehistoric  in  the  beginning  and 
reaching  into  the  vague  brightness  of  the  most  remote  future.  True,  it 
may  be,  as  Emerson  says,  that  "inspiration  is  instantaneous,  a  flash 
intercepted  by  periods  of  darkness."  True,  also,  as  Lowell  has 
remarked,  that  "we  know  little  or  nothing  about  the  parentage  of  men 
of  the  first  rank.  It  is,  however,  demonstrably  true  that  all  men  must, 
in  their  intellectual  and  spiritual  life,  be  as  truly  and  as  indissolubly 
connected  with  the  past  and  the  future  as  it  is  true  of  their  physical  life. 
When  St.  Paul  addresses  Timothy  by  the  name  "  son,"  it  is  not  merely  a 
euphemism  or  a  doting  expression  of  excessive  affection,  but  an  exact 
expression  of  an  actual  and  omnipresent  fact  of  all  spiritual  life.  Music 
is  at  once  a  thing  of  the  body  and  of  the  soul.  No  art  is  more  strictly 
sensuous,  yet  no  art  more  ethereal.  No  art  is  more  intimately  inter- 
linked with  the  living,  palpitating  current  of  the  blood,  no  art  so  com- 
pletely depends  for  its  perfect  realization  upon  the  physical  capacities 
and  physical  health  of  the  interpretive  artist,  yet  there  is  no  art  which 


46 


MUSIC  teachers'  national  association. 


Teaches  farther  into  that  immense  profound,  that  vast,  vague,  sublime 
darkness  of  the  infinite  spiritual  «vith  which  we  are  constantly  sur- 
rounded, and  the  presence  of  which  we  are  forever  perceiving  by  a  dim 
foreboding  or  ahnung.  The  business  of  music,  as  of  every  art,  is  to  give 
a  physical  expression  to  the  most  impalpable  and  subtile  of  our  inner 
■experiences,  consequently  there  are  two  things  always  present  in  every 
work  of  art,  and  always  presupposed  whenever  we  prophesy  that  a  work 
of  art  may  be  produced.  These  things  are  inward  experience  of  a  char- 
acter and  dignity  worthy  of  outward  expression  and  material  means 
which  may  adequately  embody  and  clothe  these  conceptions. 

Either  branch  of  this  discussion  opens  up  a  tempting  universe  of 
Televancies,  and  a  complete  analysis  would,  of  course,  transcend  the 
limits  of  the  time  assigned  to  me.  But,  upon  the  first  head — that  is,  the 
fitness  of  the  American  life  for  artistic  expression,  I  may  be  allowed  a 
few  passing  remarks.  First,  then,  of  American  music  we  may  say,  as  of 
American  literature,  it  is  vain  to  ask  for  ''the  OTie  American  typical  novel" 
till  we  have  the  one  typical  American  people.  So,  also,  why  ask  for  the 
one  American  symphom,  so  long  as  there  is  not  the  one  American 
life?  Yet,  there  has  been  good  literary  work  produced  in  this  country, 
good  novels,  excellent  dramas,  and,  above  all,  poetry  which  seems  to 
have  the  life-blood  of  eternity  in  it,  and,  perhaps,  the  same  may  be,  in  a 
certain  limited  degree,  claimed  for  American  music  of  the  present  and  the 
past.  Music,  in  tis  whole  history,  has  developed  later  than  literature 
and,  while  it  is  a  plant  of  rapid  growth,  and  its  periods  of  transforma- 
tion have  always  been  short,  we  do  well  not  to  ask  of  it  to  accelerate  this 
inborn  speed,  and,  certainly  we  should  never  impart  to  its  growth  a 
watery  pulpiness  by  hot  house  process  of  stimulation. 

Secondly,  American  life,  though  by  no  means  lacking  in  the  elements 
of  the  poetic  and  the  artistic,  is,  to  outward  view  and  throughout  a  large 
extent  of  its  reality,  a  thoroughly  prosaic  life.  As  in  a  mountain  range 
of  auriferous  rocks  the  gold  is  scattered,  now  in  slender  veins,  now  in 
small  particles,  deeply-imbeded  in  solid  rock,  and,  perhaps,  somewhere 
snugly  hidden  away  in  the  sandy  bottom  of  a  water-course,  in  a  large 
pure  nugget,  destined  for  the  lucky  eye  and  hand  of  some  half -despairing 
explorer,  so  it  is  with  the  poetry  in  American  life. 

Our  towering  ambitions  are  built  solid  upon  material  well-being,  and 
all  the  numerous  strata  into  which  American  life  is  now  subdivided,  and 
is  constantly  subdividing  itself  in  still  thinner  laminse,  form  convergent 
pockets  and  nooks  in  which  imagination,  genius  and  sentiment  may  be 
stowed  for  future  development.  To  speak,  then,  in  a  large  sense,  Amer- 
ican life  can  be  demonstrated  to  possess  elements  of  the  artistic,  despite 
its  roughness  and  hurly-burly  and  outward  show  of  crass  materialism. 
In  the  first  place,  of  American  life  it  may  be  remarked  that  its  most  pe- 
culiar characteristic  is  the  fact  that  it  is  thoroughly  composite.  All  the 
great  nations  have  been  composite  races.  The  superficial  ethnologist 
will  at  once  stop  me  at  this  point  with.  Hold  !  how  is  it  about  the  Greeks 
and  the  Egyptians?  And  he  will  furnish  me,  not  an  exception,  but  a  case 


AMERICAN  COMPOSITION.  47 

in  point,  for  it  is  now  well-ascertained  that  both  the  Greek  and  the 
Egyptian  had  the  blood  of  mixed  races  in  his  veins.  Therefore,  the  com- 
posite character  of  American  life  need  afford  in  no  sense  a  bar  or  chilling 
check  to  our  most  eager  and  buoyant  anticipations.  True,  no  doubt,  it 
has  been  in  former  decades  largely  the  "  scum"  of  Europe,  or  the  crimi- 
nal offscourings  which  have  been  plentifully  poured  upon  our  shores, 
and,  even  in  our  own  time  some  check  to  immigration  would  be  wise. 
There  is,  however,  in  this  large  insetting  tide  of  immigration  from  both 
the  East  and  the  Western  continents  a  goodly  percentage,  ever-increasing, 
of  the  intelligent  and  the  virtuous  classes  of  these  older  civilizations. 
All  of  these  elements,  as  in  a  crucible,  are  commingled,  and  are  destined 
by  the  inevitable  laws  of  race,  attraction  and  mutual  reaction  to  be 
fused  into  one  great  people. 

This  hasty  glance  at  the  inward  conditions  of  America  must  suffice 
for  the  present.  Now  as  for  the  outward  material  power  of  expression 
we  Americans  have  first  of  all  a  wonderful  mechanical  genius  which 
manifests  itself  every  day  in  the  enlargement  of  outward  facilities.  Our 
pianos  justly  challenge  the  admiration  and  even  the  envy  of  the  old 
world,  our  violins,  though  like  those  of  Europe  not  equal  in  excellence 
to  the  marvelous  creations  of  the  Amati  family  and  of  their  greater  suc- 
cessor Antonius  Stradavarius,  are  never  the  less  excellent.  The  natural 
voices  of  our  Americans,  particularly  of  the  ladies,  are  of  pure  Italian- 
esque  quality  and  their  intelligence  and  sensibility,  united  to  their  in- 
domitable energy  and  plucky  ambition  have  already  produced  a  goodly 
number  of  operatic,  concert,  and  oratorio  artists,  whose  talents  challenge 
the  admiration  of  the  entire  world.  Such  names  as  Clara  Louise  Kel- 
logg, Anna  Louise  Gary,  Madame  Albani-Gye  and  a  long  list  of  others 
only  second  to  these  may  be  sighted  in  passing  by  way  of  proof.  Secondly 
as  to  outward  material  conditions,  the  American  nation  is  rich  and  is 
lavish  with  the  expenditure  of  its  money.  We  gather  wealth  easily  and 
we  pour  it  out  with  equal  ease.  The  pocket  book  of  every  healthy 
American  is  like  a  little  lake  or  temporarj''  expanse  in  a  river;  at  one 
side  the  current  flows  in,  it  glides  through  and  issues  from  the  other  side, 
with  equal  speed.  The  outlay  of  money  on  musical  interests,  for  musical 
instruments,  for  tuition  and  for  the  opportunities  of  hearing  artists  in 
this  country  challenges  our  admiration  and  would  almost  stagger  belief 
could  it  be  set  down  in  tables  of  statistics.  Since  the  days  of  1825  when 
Italian  opera  was  established  by  the  father  of  Malibran  in  New  York  to 
this  year  1890  the  great  opera  singers  of  Europe,  the  great  pianists,  the 
great  violinists,  the  great  everybodies  look  to  find  Eldorado  in  this 
Hesperian  land  and  hopes  by  the  alchemy  of  art  to  turn  the  golden  glow 
of  our  sunset  climate  into  the  solid  gold  that  may  add  a  servicable  bal- 
last to  lightened  fortunes.  "  But,  you  say,"  despite  all  thia  lavishness  of 
expenditure  upon  art  it  is  crude  and  indiscriminate,  it  rushes  eagerly, 
breathlessly  indeed,  after  every  new  and  flamingly  advertised  wonder 
from  Europe  but  does  not  rely  upon  its  own  judgment  or  delight  to  afford 
local  merits,  that  material  aid  which  may  serve  as  a  substantial  trellis  to 


48  MUSIC  teachers'  national  association. 

its  luxuriant  and  wandering  vine."  This  feature  is  alas,  corrupt,  but 
then  does  not  nature  afford  us  a  helpful  and  encouraging  analogy  ?  On 
a  barren,  sandy  soil  it  is  first  the  weed  with  its  rank  luxuriance  and  its 
gay  flowers  that  can  find  a  foot-hold.  The  weed  decays  and  crumbling 
into  a  mold  forms  the  soil  from  which  finer  growths  may  drain  their  sus- 
tainance.  This  American  prodigality  of  art  patronage  is  a  weed  no  doubt 
but  it  is  a  weed  which  reminds  us  of  Spencer's  beautiful  phrase,  "  It  is  a 
weed  of  glorious  feature." 

Patience,  patience,  brother  American  composers,  we  are  not  faring 
worse  than  our  greater  ancestors.  How  was  it  about  Bach,  and  the 
material  support  which  he  received  from  his  contemporaries?  How  was 
it  even  with  the  spiritual  coin  of  praise?  Did  men  bow  down  and  worship 
him  as  the  one  great  genius  of  the  contrapuntal  school,  as  we  now  do? 
Did  the  first  works  of  Beethoven  set  the  world  agog  with  enthusiasm? 
Did  Richard  Wagner  find  the  first  twenty-five  years  of  his  creative 
activity  a  pathway  paved  with  rose  petals?  It  is  well  that  composition 
of  music  does  not  pay,  for  if  material  wealth  were  added  to  the  rich 
increment  of  joy  and  unspeakable  delight  which  the  composer  experi- 
ences, every  third  man  you  met  in  the  street  would  be  a  producer  of 
symphonies,  and  we  should  at  last  arrive  at  that  impossible  yet  perhaps 
serene  nirvana  when  every  man  would  have  an  audience  of  precisely  one, 
and  should  be  sure  of  that  audience  being  appreciative,  since  it  would 
be  himself,  and  himself  only.  The  present  status  of  American  composi- 
tion, and  hj  present  I  mean  the  work  of  the  last  decade,  may  be  fairly 
and  without  exaggeration  termed  in  the  highest  degree  hopeful.  The 
dawn  is  unquestionably  here;  not  yet  the  full  day,  but  the  long  prelude 
of  growing  colors.  The  faint  tints  and  shading  flushes  of  brightness  are 
past,  and  the  morning — red,  warm  rose,  with  the  gold  just  rising  out  of 
it,  which  marks  a  true  sunrise,  a  cloudless  sunrise  of  hope  and  promise 
is  here.  There  are  in  America  many  composers  who  ^re  singing  their 
souls  and  their  heart  experiences  out  into  the  world  with  enthusiasm, 
with  hope,  and  I  believe  with  sincerity  of  purpose.  What  if  this  choir  of 
birds  be  like  the  twittering  jargon  of  the  morning,  and  remind  us  of  an 
aviary,  or  call  up  that  pretty  sentence  with  which  T.  B.  Aldrich  begins 
his  novel,  the  "Stillwater  Tragedy:"  "The  wrens  and  the  robins  and  the 
blue  jays  caught  up  the  crystal  crescendo,  and  what  a  melodious  racket 
they  made  of  it  with  their  fifes  and  flutes  and  flageolets."  What  if  every 
American  city  has  its  symphonist,  who  must  fight  with  pen  and  tongue 
and  pocket-book  to  create  his  work,  to  have  it  accepted,  and  to  get  an 
audience  to  hear  it?  All  this  is  a  stage  in  the  true  growth  of  art.  This 
exuberance  of  productivity  in  the  large  forms,  or  more  strictly  speaking 
in  all  the  accredited  historic  forms,  from  the  Gavotte  to  the  Symphony, 
from  the  Song  to  the  Opera,  from  the  Hymn  to  the  Oratorio,  is  the  first 
great  hopeful  and  striking  fact  in  the  present  status  of  American  com- 
position. The  second  thing  which  kindles  hope  and  supplies  it  with 
solid  luel,  is  a  state  of  things  which  at  first  looks  like  discouragement, 
just  as  a  great,  huge  mass  of  sbiny  black  coal  appears  like  a  stone,  but  is 


AMERICAN  COMPOSITION. 


49 


in  reality  only  concrete  sunshine;  sunshine  laid  up  since  the  prehistoric 
ages  of  the  world  to  keep  our  fingers  and  toes  from  tingling  with  the  cold 
of  the  present.  This  second  great  fact  is  that  our  composers  as 
yet  have  produced  little  that  is  original.  They  imitate  openly  and  pal- 
pably; they  are  seldom  original,  and  when  they  are  it  is  but  for  a  mo- 
mentary flash,  a  passage  of  three  or  four  measures,  one  or  two  chord- 
connections,  or  a  spot  of  instrumental  coloring.  What,  then,  are  they 
different  from  the  great  historical  lives  which  have  formed  indissoluble 
links  in  the  history  of  our  art?  Bach,  copying  by  moonlight  the  works 
of  his  predecessors,  and  nourishing  his  musical  faculty  upon  them  ;  Mo- 
zart boasting  that  there  was  no  important  work  previous  to  his  time  that 
he  had  not  thoroughly  analyzed  ;  Beethoven,  beginning  all  aglow  with 
the  style  of  Mozart  and  Haydn;  Wagner  going  in  the  leading-strings  of 
Gluck,  Weber  and  Meyerbeer ;  what  are  all  these  but  illustrious  ex- 
amples of  the  true  and  wholesome  way  in  which  composers  begin?  The 
absolute  and  startling  originality  of  such  men  as  Schumann  and  Chopin 
in  no  way  invalidates  the  great  principle  which  I  am  now  considering, 
for,  marvelous  as  was  the  originality  of  these  two  immortal  masters, 
and,  although  each  of  them,  when  he  attempted  to  write  in  a  classical 
mould — witness  the  sonatas  of  Chopin  and  Schumann  alike.  Though 
producing  works  of  great  intrinsic  beauty,  considered  as  a  whole,  made 
failures.  The  originality  of  these  men  lay  in  soine  one  or  two  special 
respects,  and  their  genius  indeed  never  spread  beyond  a  certain  field, 
except  as  in  the  case  of  Schumann,  to  become  entangled  and  confused. 
Imitate,  then,  brother  composer,  imitate  boldly,  conscientiously,  avow- 
edly, and  thank  God  for  the  long  array  of  saints  and  martyrs,  a  great 
cloud  of  witnesses  to  the  dignity,  beauty  and  power  of  our  favorite  art. 
Lift  high  the  crescent  of  the  beautiful  and  replenish  the  lamp  of  imagina- 
tion, air  the  ideal  region  of  our  celestial  art,  the  signal  of  promise. 
There,  also,  are  the  jjrognostics  of  a  great  future  for  America.  America 
is  the  country  where  all  mankind  are  at  last  joining  hands  in  fraternal 
feeling,  that  universality  of  the  human  race  of  which  the  cultured 
Greek  never  dreamed.  That  friendly  kinship  of  all  things,  which  is  one 
of  the  most  precious  and  original  gifts  of  Christianity,  is  in  America. 
Though  with  many  baitings  and  drawbacks  and  blunderings  back  into 
man's  animal  past  is,  I  say,  in  America  becoming  actual  and  visible.  In 
this  very  assembly,  united  by  the  magic  bond  of  art,  we  come  together 
of  many  languages,  races  and  religious  affinities. 

The  facts  about  American  musical  life  are,  of  course,  contradictory 
and  entangled.  How  we  collect  augeries  which  awaken  hope.  Again 
over  against' them  we  find  facts,  with  naphtha  drawn  from  the  wells  of  the 
past.  But  what  of  these  weltering  masses  of  sound  which  our  American 
composers  produce — what  of  these  strivings  after  an  unattainable  ideal  ? 
Is  there  any  hope  that  something  clean  and  new  will  come  out  of  it? 
Yes,  every  way.  As  Venus,  the  god  of  love  and  beauty  was  created  by 
the  drops  of  blood  that  fell  from  Coelas  when  struck  by  the  scythe  of 
Chronos,  true  as  these  drops  of  blood  fell  into  the  ocean  and  were 


50  MUSIC  teachers'  national  association. 

Tvafted  in  a  sea-shell  boat  to  the  shores  of  her  island  Cjtharaca,  so  the 
perfect  works  of  the  future  will  be  generated  by  the  life-drops  of  the 
dead  past  falling  upon  the  weltering,  vast  ocean  of  our  tumultuous  pres- 
ent feeling.  When  lecturers  like  Joseph  Cook  can  find  facts  to  stimulate 
burning  hope  in  the  quarry  of  statistics,  we  musicians  may  also  find  in  the 
upper  which  breed  discouragement.  ^But  hope  outweighs  discouragement 
and  the  spirit  of  earnest  research,  of  ardent  thinking  and  liberal  support 
of  all  things  new  and  good  which  run  like  a  thread  of  gold  through  the 
whole  web  of  American  life,  must  bring  forth  similar  good  results  in  the 
region  of  American  music.  What  will  our  future  music  be?  Who  can 
tell  ?  Will  it  be  Italian,  German,  French,  English,  Russian?  Probably 
neither,  hut]  all.  The  press  is  to-day  teeming  with  American  composi- 
tions of  an  artistic  grade,  not  one  hundred,  but  five  hundred  per  cent 
higher  than  the  current  compositions  of  twenty-five  years  ago,  and  all 
this  is  full  of  cheer. 

What  if  our  circle  of  admirers  and  sympathetic  appreciators  be 
small  ?  Let  us  never  forget  that  the  highest  reward  of  art  is  art  itself, 
and  if  the  American  public  is  sufliciently  educated,  sensitive  and  sympa- 
thetic to  take  lessons  from  us,  or  to  buy  our  concert  tickets  until  our 
bodily  needs  are  supplied,  let  us  thank  God,  and  rejoice  that  the  rewards 
of  composition  are  the  ecstatic  moods  which  compel  the  collection  of 
tone,  and  whenever  the  heavenly  visitors  come  let  us,  like  Abraham  of 
old,  entertain  them  with  genial  hospitality,  and  when  the  word  of  art- 
rapture  shall  bring  the  fiery  chariot  of  Elijah,  let  us  mount  fearlessly 
into  the  presence  of  God. 


THE  SCIENTIFIC  STUDY  OF  MUSIC. 


BY  WALDO  S.  PRATT,  HARTFORD,  CONN. 

In  responding  to  the  invitation  of  the  Program  Committee  to  say 
isomething  concerning  the  present  condition  of  musical  thought  and  its 
future,  I  shall  look  simply  at  one  aspect  of  this  great  subject.  It  would 
require  not  only  much  time  but  a  very  peculiar  equipment  to  discuss  the 
present  and  future  status  of  music  completely  and  in  detail.  The  survey 
of  the  strictly  artistic  unfolding  of  music  during  the  nineteenth  century 
is  alone  a  matter  for  a  large  volume,  espscially  if  one  were  to  treat  in 
turn  of  the  changes  in  theories  and  methods  of  composition,  of  the  new 
forms  for  containing  musical  ideas,  of  the  new  instruments  and  new 
systems  of  vocal  and  instrumental  technique,  and  of  the  new  person- 
alities and  schools  of  thought  that  are  now  conspicuous  in  the  musical 
world.  Such  a  survey  could  be  brought  to  bear  upon  the  immediate 
question  before  us  if  it  were  only  executed  in  a  profound  and  catholic 
spirit,  and  were  to  culminate  in  a  just  estimate  of  the  tendencies  that 
control  music  in  its  capacity  as  the  art  of  the  nineteenth  century. 
Doubtless  a  most  interesting  and  suggestive  study  might  also  be  made  of 
the  part  that  music  plays  as  a  factor  in  modern  society  m  different  parts 
of  the  world,  of  its  connection  with  business,  amusement,  education, 
and  the  greater  interests  of  humanity,  especially  if  some  prophetic 
master  could  show  us  wherein  music  really  touches  the  prodigious  prob- 
lem of  our  common  life,  and  what,  therefore,  we  are  doing  for  or  against 
their  proper  solution.  I  for  one  should  like  to  hear  something  too  about 
the  reactive  effect  which  modern  musical  life,  with  its  artistic  and 
^sociological  tendencies,  is  having  upon  the  musician  himself,  or,  in  other 
words,  a  study  of  the  present  and  future  of  music  as  revealed  in  the 
character  of  its  devotees. 

But  I  shall  confine  myself  strictly  to  this  one  inquiry:  Is  what  may 
be  called  the  scientific  side  of  music,  as  usually  studied  and  presented,  as 
large  and  effective  as  it  ought  to  be?  This  inquiry  has  been  forced  upon 
me  by  certain  work  in  terminology  in  which  I  have  been  engaged  for 
some  years.  Musical  terminology  is  commonly  understood  to  be  simply 
the  definition  and  explanation  of  musical  terms  or  technical  words.  But 
in  thus  describing  its  field  we  often  forget  that  definition  in  any  complete 
form  is  impossible  without  a  logical  arrangement  of  both  the  facts  of 
music  and  the  terms  in  which  they  are  expressed.  Furthermore,  we  also 
forget  that  no  such  arrangement  of  either  the  facts  or  the  terms  of  music 
is  possible  without  a  genuine  mastery  of  the  whole  field  covered  by  what 
we  call  "music."   In  short,  the  definition  of  musical  terms  involves 


52  MUSIC  teachers'  national  association. 

a  thorough  classification  of  musical  things  and  ideas,  and  such  a  classifi- 
cation involves  a  scientific  knowledge  of  music  as  a  whole. 

It  will  at  once  be  objected  that  all  well- trained  musicians  do  know 
music  in  this  scientific  way.  The  best  known  masters  are  often  'called 
"scientific  musicians,"  and  with  reason.  They  are  familiar  with  the 
immense  field  of  musical  works,  and  perhaps  have  a  marvelous  repertoire 
of  masterpieces,  as  the  phrase  is,  "at  their  finger-ends."  They  are  keen 
critics  of  the  relative  merit  and  the  artistic  point  of  these  and  other 
works.  They  are  often  very  effective  performers,  revealing  thus  a 
musical  insight  and  an  interpretative  power  that  challenge  hearty 
applause.  In  many  cases  they  prove  painstaking  and  inspiring  teachers, 
so  that  their  influence  is  manifest  throughout  a  wide  circle  of  intelligent 
disciples.  Above  all,  they  often  exhibit  genius  of  the  highest  order  in, 
the  production  of  original  works  in  various  styles,  which  rank  among 
the  real  contributions  to  musical  literature. 

It  would  be  presumptuous  and  foolish  enough  to  object  to  the  repu- 
tation of  these,  our  great  men,  the  shining  ornaments  of  our  profession.. 
Is  is  not  my  purpose  even  to  seem  to  do  so.  My  question  is  simply 
whether  these  artists  themselves  would  not  generally  admit  that  the  art 
of  musical  creation,  reproduction,  and  instruction  has  another  side  than 
the  artistic  one,  at  which  comparitively  few  of  them  have  had  the  time 
to  look  with  much  thoroughness.  If  this  be  true,  it  is  a  fair  question 
for  us  to  ask  ourselves:  Is  it  not  possible  that  the  study  of  that  other 
side  may  be  important  to  an  unrealized  degree,  at  least  for  the  average 
musician  ? 

There  can  be  no  question  that  the  art  of  music,  like  all  the  fine  arts,. 
has  a  side  which  may  be  called  the  scientific  side.  The  materials,  physical 
and  mental,  which  music  employs,  the  laws  she  follows  in  putting  her 
ideas  into  those  materials,  the  entire  mechanism  of  composition,  perform- 
ance, and  appreciation,  together  with  the  connections  between  music 
and  various  non-musical  spheres,  these  things  are  objective  phenomena. 
They  exist  by  themselves.  They  can  be  analyzed,  described,  compared, 
grouped,  and  reasoned  about.  They  are  genuine  objects  of  rational 
investigation.  Their  objective  reality  is  obvious  at  every  step  of  music 
teaching,  otherwise  there  would  be  no  hope  of  widely  communicating 
them;  otherwise  they  could  not  be  set  forth  in  spoken  language,  much 
less  in  a  text  book  or  dictionary. 

But  it  is  probable  that  most  of  us  have  as  yet  very  narrow  views  of 
the  scope  of  this  scientific  side  of  music,  and  consequently  are  slow  to 
concede  its  importance  with  reference  to  our  artistic  even  our  educa- 
tional work.  This  is  not  the  place  to  argue  at  length  concerning  the 
relation  between  the  science  of  an  art  and  the  art  itself.  Some  artists 
deny  the  relation  altogether.  Some  are  so  constituted  that  they  never 
really  grasp  the  scientific  side,  and  therefore  yield  to  its  influence  only 
accidentally  and  unconsciously.  Some  confuse  the  distinction  between 
science  and  art,  and  so  reach  only  muddled  results  in  both.  Without 
plunging  into  the  metaphysical  problem  of  the  relation  between  science 


THE  SCIENTIFIC  STUDY  OF  MUSIC.  53 

tind  art,  is  it  not  strikingly  true  that  our  common  habits  of  thought  and 
s'lfreech  about  music  will  not  bear  comparison  for  intellectual  force  and 
precision  with  the  standards  already  firmly  established  in  the  physical 
sciences,  like  chemistry,  or  the  literary  sciences,  like  rhetoric,  or  the 
social  sciences,  like  political  history?  We  know  that  mental-working, 
tor  example,  as  an  art  is  largely  indebted  to  scientific  chemistry,  that 
oratory  and  poetry  have  profited  much  from  formal  rhetoric,  that 
pratical  statesmanship  has  learned  many  a  lesson  from  history.  Is  it 
not  probable  that  the  art  of  music  may  find  more  than  is  commonly 
-expected  in  an  elaborate  study  of  itself  as  viewed  with  the  eyes  of  a 
scientist?  Do  not  the  sporadic  and  unharmonized  attempts  to  handle  , 
single  items  or  sections  of  musical  science  with  a  genuine  scientific 
method  indicate  that  the  value  of  such  investigation  is  actually  admitted? 

This  brings  me  to  my  main  proposition  :  that  among  the  most 
momentous  needs  of  music  in  America  is  the  extension  of  this  strictly 
scientific  analysis,  classification,  and  definition  to  the  entire  round  of 
musical  facts  and  to  all  the  details  of  aur  •  professional  activity.  We 
need  the  discipline  of  such  study  as  musicians.  It  will  give  us  a  cooler 
judgment,  will  guard  us  against  the  heedless  impetuosity  of  the  heart, 
tind  will  lay  a  basis  for  a  nobler  moral  ambition.  It  will  tend  in  short, 
to  make  us  broader  and  better  men,  because  supplying  that  intellectual 
culture  and  power  which  has  always  been  more  or  less  lacking  in  our 
ranks.  Music  as  a  productive  fine  art,  too,  needs  the  regulation  of  sharp 
logical  criticism.  More  than  all  the  other  fine  arts,  it  deals  with  emotion, 
passion,  ecstacy  ;  it  revels  in  those  intense  imaginings  and  longings 
•for  which  language  and  the  graphic  arts  are  such  tame  embodiments  ;  it 
voices  things  otherwise  unutterable  ;  it  stands  therefore  somewhat  by 
itself  among  man's  efforts.  It  draws  into  its  circle  many  who  are  abnor- 
mally developed  in  the  capacities  for  which  it  is  the  only  natural  outlet. 
The  uttrances  of  such  men,  because  of  their  very  intensity  and  the 
marvelous  fitness  of  the  mode  of  utterance  to  the  contents  of  the  utter- 
ance, often  seem  to  be  the  highest  possible  achievements  of  music.  Yet 
is  it  not  conceivable  that  a  more  diligent  study  of  what  music  really  is 
might  reveal  the  essential  one-sidedness  of  such  utterances,  and  gradu- 
ally lead  to  the  exaltation  of  something  more  truly  representative  of  the 
liumane  spirit  in  its  ideal  perfection?  Furthermore  if  music  is  to 
occupy  a  high  place  among  the  other  activities  of  life,  it  needs  to  effect 
a  much  closer  adjustment  of  itself  to  life  as  it  is  than  its  intellectual 
grasp  of  its  own  nature  and  powers  has  thus  far  enabled  it  to  make. 

Nothing  is  really  worth  while  that  cannot  demonstrate  its  value  in 
relation  to  the  eternal  verities.  Music  has  been  too  content  to  be 
counted  as  only  a  pretty  bubble,  a  curious  plaything,  a  refined  pastime, 
or  an  emotional  intoxication.  It  has  vaguely  claimed  genuine  value, 
and  has  exacted  a  show  of  respect  from  the  deeper  students  of  humanity 
«,nd  its  problems.  Yet,  when  challenged,  it  has  often  been  sadly  at  a 
loss  to  justify  its  claim,  simply  because  its  advocates  have  been  intellectu- 
ally unable  to  handle  the  question  involved. 


5i  MUSIC  teachers'  national  association. 

If  there  be  any  force  in  this  argument,  it  is  plain  that  certain  objects 
of  effort  should  be  before  us  all  in  our  daily  life  as  musicians.  First,  we 
ought  to  set  our  house  intellectually  in  order.  We  ought  to  find  a  place 
in  it  not  simply  for  what  we  call ^Aeor^, "  meaning  thereby  "musical 
construction  and  creation,  not  simply  for  technique,  or  musical  reproduc- 
tion and  interpretation,  not  simply  for  methods  of  teaching  this  or  that 
practical  branch,  but  for  musical  acoustics,  the  science  of  th€  physical 
material  of  music  and  the  physical  means  by  which  music  is  produced, 
for  musical  cestJietics,  the  science  of  the  perception,  appreciation,  critcism, 
and  translation  of  music,  for  musical  pedagogics,  the  science  of  teaching^ 
music  so  that  music  itself  shall  be  taught,  and  not  simply  the  phantasms 
•  of  notation  or  technique,  and  for  what  may  be  called  musical  practics, 
the  science  of  the  relation  of  music  to  ends  outside  itself,  to  health,  to 
social  intercourse,  to  the  great  subject  of  education  as  now  understood, 
to  the  growth  of  individual  character,  and  above  all,  to  the  truths  and 
the  work  of  religion.  Having  found  a  fit  place  for  these  branches  of 
musical  science,  we  ought  to  conquer  each  of  them  by  means  of  patient 
and  minute  analysis  and  classification.  The  advancement  of  each  of  the 
other  arts  and  sciences  is  universally  being  sought  at  present  through 
this  kind  of  severe  scientific  scrutiny  and  systemization  within 
its  own  field.  Why  should  not  the  field  of  music  be  similarly  treated,  in 
order  that  it  may  be  similarly  extended,  developed,  and  mastered  in  a 
scientific  sense? 

Second,  we  should  seek  to  make  clear  the  analogies  between  music, 
thus  scientifically  regarded,  and  other  fields  of  scientific  study.  Nothing^ 
would  do  more  for  the  elevation  of  music  in  the  eyes  of  intelligent  men 
generally  than  such  a  demonstration  of  its  scientific  importance  as  we 
might  give  if  we  chose.  Nothing  would  more  encourage  amoung  us  that 
hearty  self  respect,  which  we  sometimes  secretly  lack,  than  the  posses- 
sion of  snch  a  logical  and  incontrovertable  conception  of  the  dignity  of 
our  field  of  work.  It  is  certainly  true  that  music  should  rank  among  the 
great  subjects  of  intellectual  research,  like  biology,  political  economy,  or 
literature.  It  should  be  a  standard  item  in  the  curriculum  of  every  college 
and  university.  Its  technical  schools  should  everywhere  rank  with  the 
technical  schools  of  mechanics,  medicine,  law,  and  theology,  not  simply 
in  point  of  size  and  conspicuousness,  but  in  truly  scientific  organization 
and  in  intellectual  influence  upon  the  world  outside.  That  as  a  rule  our 
music  schools  do  not  thus  rank  is  due  more  to  the  lack  of  a  comprehen" 
sive  and  thorough  scientific  method  than  to  any  one  cause. 

Third,  we  should  conduct  ourselves  as  musicians  and  as  men  in  accor- 
dance with  the  truths  derived  from  such  a  scientific  consideration  of 
what  we  are  about.  We  should  steadfastly  set  our  faces  away  from  the 
false,  the  petty,  and  the  useless  factors  in  musical  work,  and  labor  with 
heart  and  soul  for  the  true,  the  beautiful,  the  everlasting  in  all  our 
attempts  at  producing,  interpreting,  criticizing,  teaching  and  applying^ 
music.  Everyone  knows  that  right  conduct  ought  thus  to  be  the  fruit  in 
the  end  of  a  scientific  habit  of  mind.    The  reason  why  scientific  study 


THE  SCIENTIFIC  STUDY  OF  MUSIC.        .  55 

does  not  uniformly  result  in  noble  and  helpful  living  is  usually  that  the 
study  itself  is  not  deep  enough,  or  is  guided  by  false  principles,  or  is  not 
properly  articulated  with  moral  activeness  in  general.  The  dignity  of 
music,  to  be  established  beyond  question,  must  sooner  or  later  demon- 
strate itself  in  the  personal  dignity  of  musicians.  That  we  have  many 
fine  musicians  who  are  universally  recognized  in  their  respective  com- 
munities as  noble  men  is  happily  true.  Bnt  that  the  profession  as  a 
whole  is  not  thus  recognized  in  America  is  principally  due  to  the  low 
standard  of  intellectual  vigor  which  we  tolerate.  One  of  the  surest 
paths  to  personal  power  is  through  the  deliberate  elevation  of  scientific 
thought  in  every  grade  of  individual  effort.  Let  us  not  forget  that  the 
final  test  of  the  greatness  of  a  profession  is  the  average  character  and 
influence  of  its  representatives. 

This  Association  has  done  much  to  develop  the  scientific  sense  among 
its  members.  Its  papers  and  discussions  often  exhibit  intellectual  power 
of  a  high  order.  Its  efforts  have  lately  been  directed  toward  the  perma- 
nent improvement  of  methods  and  encouragement  of  conscientious 
-investigation.  Among  its  chief  accomplishments  may  be  mentioned  the 
formation  of  permanent  committees  for  the  study  of  various  topics.  Let 
me  urge  in  closing  that  every  assistance  posssble  should  be  offered  these 
committees,  and  that  such  stress  should  be  laid  upon  their  work  that 
their  reports  shall  be  prepared  with  greater  and  greater  care  each  year. 
The  time  should  come  when  their  formal  utterances  shall  be  generally 
accepted  as  authoritive  not  because  promulgated  in  the  name  of  a  great 
national  Association,  but  because  their  work  is  known  to  be  dominated 
by  a  scientific  method  of  unquestionable  validity.  In  particular,  the 
fact  should  be  emphasized  that  the  Committee  on  Terminology,  if  it  con- 
strues its  work  broadly  enough,  and  goes  about  it  patiently  enough,  has 
it  in  its  power  not  only  to  settle  various  petty  questions  that  bother  all 
practical  musicians,  but  to  assist  materially  in  that  radical  scientific 
investiga^tion  and  formulation  of  music  as  a  whole  which  is  among  the 
greatest  needs  of  our  time.  The  materials  for  the  work  are  abundant. 
Several  particular  branches  have  already  been  finely  handled.  What  i& 
needed  is  at  least  the  outlines  of  a  grand  system  of  musical  thought  that 
shall  include  these  notable  achievements  and  many  more.  The  one  pur- 
pose of  this  brief  essay  has  been  to  hold  up  the  importance,  in  proper 
conjunction  with  the  strictly  artistic  side  of  musical  effort,  of  this 
neglected  scientific  and  philosophical  side,  and  to  commend  it  to  all  who 
believe  that  music  has  before  it  a  future  even  more  wonderful  and  glori- 
ous than  its  wonderful  and  glorious  past. 


THE  ORGAN. 


BY  A.  A.  STANLEY,  ANN  ARBOR,  MICH, 

Mr.  President,  Ladies  and  Gentlemen: 

In  following  out  the  line  of  thought  suggested  by  the  Program  Com- 
mittee, those  of  us  who  are  particularly  interested  in  the  organ  iastinc- 
tively  turn  back  in  thought  to  the  beginning  of  the  18th  century.  This 
period,  ths  beginning  of  so  brilliant  an  epoch  in  the  history  of  music  in 
Europe,  was  a  barren  one  for  American  art,  in  fact  such  a  thing  as 
American  art  was  practically  non-existent  at  this  time. 

In  breaking  away  from  what  they  were  pleased  to  consider  religious 
serfdom,  the  early  settlers  had  set  their  faces  so  sternly  against  the  de- 
velopment of  those  finer  artistic  sensibilities  which  they  regarded  as  evi- 
dences of  weakness  of  character,  that  there  grew  up  in  the  colonies  a 
spirit  of  antagonism  to  art,  which  is  not  entirely  eradicated  in  many 
localities  even  now.  In  view  of  this  feeling,  we  are  not  surprised  to 
learn,  that  the  first  organ  in  New  England  (an  imported  instrument  do- 
nated to  Queens  Chapel  by  a  generous  commnuicant  of  the  church)  was 
allowed  to  remain  unpacked  for  seven  months  in  the  church  porch.  This 
was  in  1713.  The  men  of  this  period,  so  firm  in  their  adherence  to 
principle,  were  no  less  unavering  in  their  prejudices.  About  this  time — 
possibly  at  a  somewhat  earlier  date — an  organ  was  erected  in  Old  Trinity 
Church,  New  York. 

The  organs  of  this  period  were  in  the  main  of  English  manufacturers 
and  the  growing  popularity  of  the  instrument  which  led  to  its  gradual  in- 
troduction into  the  churches  induced  many,  more  or  less  distinguished 
English  organists  to  come  to  America. 

Trinity  Church,  New  York,  can  point  to  an  illustrious  succession  of 
sound  musicians,  who  officiated  as  organists,  and  can  truthfully  claim 
by  reason  of  this  fact  to  have  been  no  important  factor  in  the  develop- 
ment of  organ- playing  in  this  country.  It  would  be  interesting  to  dwell 
at  length  upon  the  marvelous  growth  of  the  art  of  organ  building  in  this 
country,  but  as  musicians  we  are  more  concerned  in  the  development  of 
oragn  playing.  We  will  therefore  simply  touch  upon  one  point  in  this 
connection,  viz.  the  intimate  relation  between  the  perfecting  of  the 
organ  mechanically,  and  the  growth  of  artistic  organ  playing. 

The  Beethoven  Sonata  is  no  less  elfective  because  the  instrument  for 
which  it  was  written  would  be  considered  entirely  inadiquate  at  the 
present  day.  The  Beethoven  symphony  can  be  given  to  day  with  greater 
perfection  of  tonal  color  than  ever  before.  So  the  Bach  fugue  loses  none 
of  its  majestic  swing  by  reason  of  the  richness  of  tonal  quality  and  the 
perfection  of  the  mechanical  accessories  of  the  modern  concert  organ. 


THE  ORGAN. 


57, 


While  the  artistic  need  must  and  does  always  exist  before  the  mechanical 
supply  is  forth  coming,  added  resources  in  the  means,  will  necessarily 
suggest  greater  possibilities  of  achievement  as  the  end. 

If  the  beautiful  gradations  of  tone  color  in  our  modern  instruments 
are  such  important  aid  to  the  performer,  must  we  not  respect  the  artistic 
sensibilities  of  the  builder  who  has  so  arranged  all  the  tints  of  the  tonal 
palette  that  the  artist  finds  them  ever  ready  at  hand?  There  are  in  the 
employ  of  our  leading  piano-forte  and  organ  makers  to-day,  men  whose 
appreciation  of  tone  color  is  so  refined  that  they  may  well  be  called 
artists  in  their  line,  and  musicians  should  not  forget  them.  The  added 
wealth  of  tone  color  and  the  greater  possibilities  of  execution  in  the 
modern  concert  organ  makes  it  possible  for  the  organist  to  draw  upon 
orchestral  literature,  and  places  at  his  command  many  of  the  most 
beautiful  orchestral  effects.  But  we  anticipate  somewhat  and  find  that 
we  must  retrace  our  steps.  The  artistic  impulses  which  influenced  the 
continent  and  England  were  not  felt  in  America,  and  the  dreamy  tunes 
Which  our  ancestors  dolefully  sung,  did  not  make  great  demands  upon 
the  church  organ  of  the  middle  of  the  last  century.  In  reality  in  most 
of  the  churches  it  was  not  needed,  for  the  ultra  orthodox  congregations 
were  highly  contented  with  a  pitchpipe,  while  the  less  conservative  com- 
promised the  matter  by  employing  the  primitive  orchestra  which  to  most 
of  us  nothing  but  a  tradition  was  to  these  church-goers  an  harassing  ac- 
tuality. Strangely  enough  the  absurd  performances  of  these  amateur 
orchestras  did  not  disturb  our  conscientious  fore-fatherism  the  least,  but 
the  faintest  suggestion  of  a  change  to  the  organ  was  after  the  signal  for 
bitter  and  prolonged  contests. 

It  is  not  strange  that  both  organ-building  and  organ-playing  lan- 
guished. The  Episcopal  church  alone  used  the  organ  as  an  adjunct  to 
church  worship,  and  to  this  church  we  owe  the  only  stimulus  to  both 
builders  and  players  for  quite  a  long  period.  But  how  strangely  things 
have  been  reversed  in  our  day!  The  historic  church  to  which  we  have 
referred  still  maintains  its  use  of  the  instrument  as  it  did  at  this  time, 
and  has  kept  the  organ  in  its  appropriate  position,  as  part  of  a  service, 
ever  dominated  by  principles  of  appropriateness  and  reverental  worship. 
The  churches  which  would  have  nothing  to  do  with  the  instrument  have 
not  only  taken  it  into  the  service  but  have  in  many  instanjjes  laid  them- 
selves open  to  the  charge  of  inconsistency  and  inappropriateness  by  as- 
signing it  a  position  in  worship  which  properly  belongs  to  it  in  the  con- 
cert hall  alone. 

If  we  study  and  analyze  the  peculiarities  of  American  organ-playing, 
we  can  account  for  many  of  the  strange  practices  which  have  been  de- 
veloped in  our  church  organists.  The  organists  m  the  Episcopal  church 
— in  the  larger  churches — were  many  of  them  fresh  from  the  inspiration 
of  the  Cathedrals  of  Old  England,  and  they  introduced  English  music 
and  English  methods  into  this  church.  This  influence  still  survives  and 
dominates  th3  musical  service.  The  orthodox  churches  not  only  did 
not  come  under  these  influences  but  by  principle  were  prejudiced  against 


58 


MUSIC  teachers'  national  association. 


them  and  the  music  in  those  churches  was  pre-eminently  of  native 
growth. 

The  performance  of  the  early  music  of  these  churches  was  highly  in 
artistic,  and  the  laughable  attempts  at  imitation,  resulting  in  the  so- 
called  "fugueing  tunes"  could  not  by  their  very  nature  contribute  much 
to  the  upbuilding  of  a  school  of  writing  or  of  playing  which  should  bear 
any  distinctive  merit.  The  spirit  of  antagonism  to  art,  which  made  of 
music  a  plaything  for  weaklings,  would  not  be  conducive  to  its  thorough 
study,  and  although  during  this  period  in  Europe  most  of  the  most  glor- 
ious conceptions  the  world  has  ever  known  were  brought  forth,  they  re- 
mained practically  unknown.  To  be  sure  we  find  occasional  references 
to  Handel,  Haydn  and  other  noted  composers,  but  the  general  ignorance 
of  the  works  of  these  men  was  lamentally  profound.  When  Lowell 
Mason  appeared  it  was  the  beginning  of  the  dawn,  and  we  should  never 
forget  what  we  owe  to  this  man  who  first  led  American  musical  thought 
in  the  right  direction.  Our  admiration  of  the  attainments  of  modern 
musicianship  leads  us  oftentimes  to  view  somewhat  superciliously  the 
work  of  Lowell  Mason,  but  many  of  his  tunes  have  a  solidity  and  rugged 
strength  which  makes  them  worthy  of  preservation,  and  some  of  them 
were  written  in  his  hearts  blood.  He  and  others  like  him  were  actuated 
by  pure  ideas,  and  if  we  have  any  indignation  to  spare,  it  may  not  be 
amiss  if  we  direct  it  against  those  musicians  of  our  day  who  are  cer- 
tainly untrue  to  their  ideals,  and  prostitute  the  talent  for  gain. 

We  might  as  well  ignore  the  work  of  the  Netherlanders  and  the  Pal- 
estrina  school  of  composeis  because  they  saw  but  darkly  the  possibilities 
of  musical  composition. 

Following  Dr.  Mason  whose  playing  was  singularly  straightforward, 
we  find  a  race  of  organists  growing  up  characterized  •  by  the  possession 
of  all  that  a  good  organist  should  not  have,  and  notably  deficient  in  all 
the  qualifications  of  a  good  player.  These  organists  sought  to  substi- 
tute an  exaggerated  sentimentality  for  true  feeling  and  starting  from  an 
entirely  vicious  standpoint,  gradually  added  those  blemishes  which  con- 
stitute the  art  of  how  not  to  play  the  organ.  Had  they  associated  them- 
selves into  a  guild  an  appropriate  emblem  would  have  been  a  pedal 
rampant.  Sacrificing  all  the  musical  unities,  they  naturally  disregarded 
the  laws  of  appropriateness,  and  thus  arose  the  practice  of  making  the 
church  a  place  for  the  performance  of  music  which  is  more  suitable  for 
the  beer  hall  than  the  House  of  God.  Their  favorite  motto..  "Do  not  let 
the  Devil  have  all  the  good  music,"  might  read.  Do  not  let  the  Devil 
have  any  music  good,  bad  or  indifferent,  for  it  was  all  placed  indiscrim- 
inately upon  the  altar  of  worship. 

The  Anvil  Chorus  alternating  with  the  Hallelujah  Chorus;  a  Strauss 
Waltz  played  slowly;  a  Bach  hymn  played  rapidly  and  other  strange 
companionship  formed  the  ordinary  repextoire.  It  must  be  confessed 
that  neither  Bach  nor  Handel  competed  with  the  other  composers  but 
seldom.  But  other  influences  asserted  themselves,  the  example  of  Dr. 
Mason  inspired  many  younger  men  to  become  acquainted  with  standard 


THE  ORGAN. 


59^ 


works,  and  more  than  that  many  sought  abroad  the  opportunities  for 
musical  culture  denied  them  in  their  own  country.  Choral  societies  had 
long  ere  this  been  formed  and  the  musical  bureau  thus  introduced  grad- 
ually diffused  itself  throughout  the  country.  As  early  as  1770  Handel's- 
Messiah  was  performed  in  Trinity  Church,  New  York. 

The  study  of  standard  works  in  New  England  and  Eastern  New  York 
began  to  bear  legitimate  fruit  and  when  American  organists  who  had 
studied  in  Germany  and  England  began  to  pursue  professional  careers  in 
their  own  country  and  to  assist  the  manliness  of  devotion  to  a  purely 
ideal  art,  the  future  of  organ  playing  was  assured,  and  for  the  last 
twenty-five  years  the  advance  has  been  phenomenal.  Organ  builders 
stimulated  by  the  increased  demands  made  upon  the  instrument  by  the 
new  race  of  performers,  applied  to  the  perfecting  of  the  instrument  the 
inventiveness  and  skill  which  have  done  so  much  for  America  and  were 
thus  able  to  produce  instruments  which  rivalled  the  products  of  the  best 
European  makers. 

Having  profited  by  the  wonderful  developments  in  organ  building, 
we  should  as  earnest  musicians  strive  to  contribute  something  to  a  better 
appreciation  of  the  instrument  and  endeavor  as  well  to  assist  in  building- 
up  a  more  perfect  style  of  playing.  To  this  end  let  us  briefly  glance  at 
some  way  in  which  we  can  assist  in  advancing  our  art.  First,  as  teachers- 
we  should  insist  upon  a  more  careful  preparation  of  those  who  desire  to 
study  the  instrument.  To  play  the  organ  well  one  requires  a  certain 
technical  development  which  can  only  be  acquired  by  piano-forte  study. 
The  flexibility  of  wrist,  the  clinging  legato  touch,  the  crisp  staccato,  are  all 
necessary,  and  the  between  extremes  of  touch  indicated  by  legato  and 
staccato,  the  modern  organ  allows  the  subtler  gradations  of  touch  which 
formerly  belonged  to  the  piano-forte  alone.  The  student  who  has  an 
appreciation  of  the  points  indicated  above  and  who  has  mastered  th& 
diflSculties  at  the  piano  keyboard  in  a  position  to  do  artistic  organ  play- 
ing hut  not  before. 

Second,  The  principles  underlying  the  art  of  registration  should  be 
carefully  demonstrated  in  our  teaching.  The  reasons  for  assisting,  that, 
while  we  must  have  light  and  shade,  and  variety  of  tonal  color,  there 
shall  be  a  well  considered  plan,  which  governs  the  employment  of  these 
artistic  resources,  must  be  pointed  out.  The  analogy  between  Instru- 
mentation and  Registration  must  be  made  clear.  Structure  of  various 
composition  forms  must  be  analyzed  and  thus  the  student  placed  in  a 
position  to  intelligently  consider  the  best  methods  of  registering  the  var- 
ious parts  of  the  work,  that  the  thematic  relationship  and  the  underlying 
idea  may  be  emphasized. 

Third,  As  organists  we  should  combine  and  insist  upon  a  uniform 
system  of  marking  the  pedaling,  and  should  strive  to  make  of  the 
mechanical  accessories  helps,  not  hindrances. 

Having  disposed  of  the  clumsy  fingering  which  marks  the  thumb 
with  a  cross  f possibly  to  emphasize  the  fact  that  to  the  student  who 
seeks  to  acquire  scales,  and  the  teacher  who  aims  at  the  acquisition  of 


60 


MUSIC  teachers'  national  association. 


patience  and  self-control  this  unruly  member  is  a  burden),  why  should 
we  not  use  a  clear  and  definite  system  of  marking.  A  uniform  nomen- 
clature should  be  adopted  as  well  as  a  uniform  arrangement  and  classi- 
fication of  the  draw  stops,  so  that  the  names  shall  accurately  indicate 
the  quality  of  the  tone,  and  the  position  of  the  stops  in  all  organs  be  the 
same.  It  is  a  great  annoyance  to  the  organist  to  find  so  many  different 
groupings  of  foundation  stops  and  certainly  perplexing  to  the  concert 
organist  whose  profession  leads  him  to  play  upon  different  makes,  often- 
times with  but  a  slight  opportunity  of  acquainting  himself  with  the  in- 
strument. The  arrangement  of  combination  pedals,  the  position  of  the 
swell  pedal  or  pedals  might  be  settled  very  easily  by  a  committee  of  com- 
petent organists  acting  together  with  an  intelligent  builder.  Think  of 
the  pianist  with  a  small  hand  having  a  keyboard  made  to  fit  him,  so 
that  key -boards  could  be  furnished  to  measure  like  a  suit  of  clothes,  but 
that  is  no  more  absurd  than  to  make  the  machanical  accessories,  which 
are  so  essential  to  the  modern  organist,  so  confusing  that  the  performer 
is  hampered  by  them  instead  of  being  assisted. 

Fourth,  We  need  to  have  truer  conceptions  of  the  relation  between 
art  and  worship,  and  the  clergy  may  well  take  to  heart  many  lessons 
taught  by  the  existing  state  of  affairs.  Too  often  the  standpoint  occupied 
by  them  is  the  one  from  which  a  writer  in  the  Century  some  years  ago 
delivered  a  series  of  articles  which  were  so  absurdly  illogical  and  ridicu- 
lous that  they  hardly  deserved  notice,  but  the  musical  service  of  the 
church  will  never  be  adequate  until  the  most  perfect  sympathy  exists  be- 
tween pulpit  and  choir  loft.  When  a  church,  instead  of  hiring  the  seventh 
part  of  a  man's  energy,  places  a  competent  musician  at  the  head  of  the 
churche's  musical  work,  and  allows  him  to  give  his  whole  time  to  the 
service  of  the  church,  the  problem  will  be  solved,  for  the  church  organist 
will  then  be  a  man  thoroughly  and  specially  trained  for  the  work.  This 
organist  will  be  alive  to  the  importance  and  dignity  of  the  service  to 
which  he  is  called,  and  his  mastery  of  the  instrument  will  be  employed  in 
a  manner  more  worthy  of  the  occasion  than  in  giving  an  organ  recital  with 
worship  accompaniment.  I  think  there  is  this  to  be  said  of  the  majority 
of  organists,  that  they  would  prefer  to  play  more  appropriate  music  than 
the  majority  of  church  goers  will  listen  to.  The  organist  has  to  live, 
and  to  live  must  depend  upon  the  favor  of  the  congregation  oftentimes, 
utterly  ignorant  of  what  they  ought  to  like,  no  ambition  to  improve, 
and  no  desire  to  know  better. 

Thanking  for  your  kind  attention  for  these  rambling  remarks,  let  me 
conclude  by  asking  you  to  assist  in  securing  for  the  King  of  Instruments 
its  true  position  in  both  church  and  concert  hall,  and  appealing  to  you  as 
earnest  musicians  to  preserve  intact  the  fundamental  difference  in  its 
treatment  in  the  two  positions. 


EARLY  ORGANS  IN  AMERICA. 

BY  SUMNER  SALTER,  OF  NEW  YORK. 

One  reviewing  the  musical  history  of  this  country  plainly  discovers 
that  the  American  organ  and  organist  have  in  a  few  score  years  risen 
from  practical  nonentity  to  a  position  commanding  the  respect  and 
esteem  of  the  foremost  builders  and  players  of  the  world.  Seventy  years- 
may  be  said  to  be  a  liberal  allowance  of  time  for  this  period. 

It  is  not  our  purpose  to  study  the  history  of  this  development,  how- 
ever, but  to  make  an  examination  into  certain  conditions  antecedent  to 
it,  viz,  the  attitude  of  the  churches  towards  the  use  of  organs,  the 
numerous  organs  imported  from  England,  and  some  of  the  earliest 
attempts  at  organ  building  in  this  country. 

To  understand  the  attitude  of  the  churches  on  the  question  of  the 
use  of  organs,  on  their  introduction  in  America,  it  is  necessary  to  draw 
a  line  of  distinction. 

For  musical  considerations  we  may  say  that  the  early  American  col- 
onists may  be  divided  into  two  classes.  The  one  was  loyal  to  the  crown, 
was  identified  with  the  Established  Church  of  England,  and  reflected  it* 
life.  The  other  had  renounced  its  allegiance  to  the  crown,  sought  to 
establish  its  own  church  and  fashion  its  life  upon  principles  peculiar  to 
and  approved  only  by  itself.  It  was  the  i!^(m- Conformist  or  Dissenting^ 
class,  of  which  the  Puritan  was  the  prototype. 

We  may  call  the  former  Episcopal,  or  English;  and  the  latter  Inde- 
pendent, or  American.  How  far  the  general  growth  of  musical  taste  in 
this  country  is  traceable  to  the  influences  springing  from  the  former 
class  it  is  not  our  object  to  consider,  but  we  would  heartily  commend  it 
as  an  important  subject  for  investigation.  It  must  be  said,  however, 
that  in  the  matter  of  organs  this  influence  was  very  great.  Without  it 
the  days  of  organs  in  America  might  not  have  come  even  now.  It  is  too 
true  that  however  inspiring  the  rugged  grandeur  of  the  character  of  the 
Pilgrim  Father  may  seem  to  us,  we  can  not  trace  back  to  him  any  price- 
less legacy  of  instinctive  love  of  music. 

Some  twenty  years  after  the  landing  at  Plymouth  Rock  the  English 
Commonwealth  was  established  and  the  wholesale  destruction  of  organs, 
etc.,  throughout  the  kingdom  took  place,  according  to  the  ordinances*  of 
the  Houses  of  Parliament,  passed  January  4,  1644.  The  feeling  expressed 
in  these  ordinances  permeated  the  Pilgrim  Fathers  on  their  advent 
in  New  England,  and  became  with  them  a  deep-rooted  conviction, 

*"  Two  Ordinances  of  the  Lords  and  Commons  assembled  in  Parliament,  for  the 
speedy  demolishing  of  all  organs,  images,  and  all  matters  of  superstitious  monuments 
in  all  cathedrals  and  collegiate  or  parish  churches  and  chapels  throughout  the  Kingdom 
of  England  and  the  Dominion  of  Wales,  the  better  to  accomplish  the  blessed  Reforma- 
tion so  happily  begun,  and  to  remove  all  offences  and  things  illegal  in  the  worship  of 
God." 


MUSIC  TBACHKRS'  NATIONAL  ASSOCIATION. 


which  has  lasted  in  many  quarters  up  to  a  very  recent  period.* 
The  English  Restoration  set  in  in  1661,  and  the  organs  destroyed  in 
accordance  with  the  ordinances  mentioned  were  gradually  replaced  by 
Father  Schmidt  from  Germany,  Thomas  and  Rinatus  Harris,  from  France, 
and  their  distinguished  successors.  The  fondness  for  the  instrument  on 
the  part  of  the  loyal  worshipers  of  the  Church  of  England,  led  by  King 
Charles  II.,  who  appointed  Father  Schmidt  "  organmaker  in  ordinary," 
and  established  him  in  palatial  quarters,  revived  with  great  vigor. 
There  were  not  enough  builders  to  supply  the  demand. 

It  was  only  a  few  years  after  this,  towards  the  close  of  the  seven- 
teenth century,  that  some  of  the  most  prominent  churches  in  this  country 
were  established,  notably  King's  Chapel,  in  Boston,  since  become  a  Uni- 
tarian church;  Trinity  Church,  Newport,  R.  1.,  and  Trinity  Church,  New 
Tork.  King's  Chapel,  Boston,  erected  the  structure  which  still  bears 
the  name,  in  1689. 

The  first  organ  in  America  is  connected  with  the  history  of  this 
ohurch.  It  was  brought  to  this  country  by  Thomas  Brattle,  Esq.,  born 
Sept.  5,  1656,  graduated  at  Harvard  College  in  1676,  in  a  class  of  three 
and  treasurer  of  the  college  from  1693  till  his  death.  May  18,  1713.  He 
was  evidently  a  Macenas  of  his  time,  and,  while  he  was  not  an  Episco- 
palian, he  was  rather  too  progressive  in  spirit  to  be  regarded  as  a  typical 
Independent.  The  organ  was  for  his  personal  gratification  at  home  and 
the  entertainment  of  his  friends.  Rev.  Samuel  C.  Green,  of  Salem,  says 
in  his  diary,  in  1711,  "  I  was  at  Thos.  Brattle's,  in  Cambridge,  heard  his 
organ,  and  saw  strange  things  in  a  microscope. "f 

By  will,  probated  May  23,  1713,  the  organ  was  bequeathed  to  Brattle 
Street  Church,  being  "  given  and  devoted  to  the  praise  and  glory  of  God 
in  the  said  church,  if  they  shall  accept  thereof,  and  within  a  year  pro- 
cure a  sober  and  discreet  person  that  can  play  skillfully  thereon  with  a 
loud  noise  ;  otherwise  to  the  Church  of  England  in  this  town,  on  the 
same  terms  and  conditions  ;  and  on  their  non-acceptance  or  discontinu- 
ance to  use  it  as  above,  unto  the  College  ;  and  on  their  non-acceptance 
or  discontinuance  as  before,  I  give  the  same  to  my  nephew,  William 
Brattle."  Brattle  Street  Church,  however,  was  not  one  of  those  that 
had  any  use  for  organs.  It  still  felt,  as  expressed  in  "A  request  of  all 
true  Christians  to  the  honorable  Houses  of  Parliament,"  1586,^  that  "the 
service  of  God  is  grievously  abused  by  piping  with  organs,  singing, 


*The  writer  plays  upon  the  first  organ  introduced  in  the  oldest  Presbyterian 
church  in  New  York  City;  but  this  organ  has  only  been  in  the  church  three  years.  One 
other  case  of  recent  opposition  to  this  so-called  "  instrument  of  the  devil,"  came  to 
notice  two  months  ago  in  Texas,  when,  an  organ  having  been  put  in  the  church  after  the 
creation  of  a  great  deal  of  bitter  feeling  concerning  ttie  matter,  the  progressive  party 
were  dismayed  one  morning  upon  findin  nothing  left  of  the  instrument  but  ashes  and 
molten  metal  just  outside  the  church. 

tQeneral  H.  K.  Oliver,  a  descendant  of  Thos.  Brattle,  in  Boston  Transcript,  Nov.  10, 
1884. 

^History  of  Handel  and  Haydn  Society,  Boston,  by  C.  C.  Perkins,  p.  10. 


EARLY  ORGANS  IN  AMERICA. 


63 


ringing  and  howling  out  of  psalms  from  one  side  of  the  choir  to  another, 
with  the  equaling  of  chaunting  choristers,  disguised,  as  are  all  the  rest, 
in  white  surplices,  some  in  corner-caps  and  filthy  capes,  imitating  the 
fashion  and  manner  of  anti-Christ,  the  Pope,  that  man  of  sin  and  child 
of  perdition,  with  his  other  rabble  of  miscreants  and  shavelings." 

With  them  "  not  even  a  pitch-pipe  was  allowed."  A  law  was  enacted 
in  1675  prescribing*  that  no  one  should  play  "on  any  kind  of  instrument 
except  the  drum,  the  trumpet  and  the  jewsharp."  Of  all  instrumnets, 
the  organ,  as  being  epecially  identified  with  Popery,  was  the  most  ab- 
horred. Brattle  Street  Church  voted,  July  24,  1713,  "that  they  did  not 
think  it  proper  to  use  said  organ  in  the  public  worship  of  God."  The 
organ  was  then  offered  to  King's  Chapel  (or,  it  was  then  called,  Queen's 
Chapel,  in  honor  of  Queene  Anne),  and  accepted  f  A  short  time  after- 
ward it  was  brought  to  the  church,  but  rem.ained  unpacked  in  the  church 
until  the  following  March.  In  February,  1714,  it  was  voted,  "That  the 
church  wardens  write  Col.  Redknap  "  (in  London,  no  doubt)  "  and  desire 
him  to  go  to  see  Mr.  Edward  Eustone,  who  lives  next  door  to  Mr.  Mas- 
ters, on  Town  Hill,  and  discourse  him  on  his  inclination  and  ability  to 
come  over  and  be  the  organist  at  thirty  pounds  per  annum.  This  money, 
which,  with  other  advantages  as  to  Dancing,  Musick,  etc.,  will,  we  doubt 
not,  be  sufficient  encouragement.  Voted,  that  the  Organ  be  forthwith 
put  up." 

A  tempory  organist  was  appointed  and  a  contribution  was  raised 
from  sundry  well-disposed  gentlemen  and  other  persons  towards  the 
maintenance  and  support  of  the  organs,  which  amounted  to  between  43 
and  44£."t  Mr.  Edward  Eustone  was  engaged  as  organist,  and  entered 
upon  his  duties  about  Christmas,  1714.  It  is  fair  to  presume  that  he  was 
a  "sober  person,"  and  capable  of  fulfilling  the  provisions  of  the  legacy 
as  to  the  skillful  pla3ang  of  the  instrument  "  with  a  loud  noise." 

No  clue  as  to  the  builder  of  this  now  famous  instrument  has  been 
found.  It  is  not  improbable  that  it  was  a  specimen  of  the  workmanship 
of  either  Father  Schmidt,  Renasus  Harris  or  Jordan,  the  inventor  of  the 
swell,  all  of  whom  were  prominent  at  that  time.  There  were  compara- 
tively few  builders,  at  best,  and  it  is  not  likely  that  a  man  of  Mr.  Brat- 
tle's means  and  position  would  have  bought  an  instrument  unless  it  was 
of  the  best  quality  and  most  reliable  workmanship.  The  subseqent  his- 
tory of  the  organ  proved  that  it  possessed  both.  It  was  in  constant  use 
at  King's  Chapel  until  1756,  when  a  new  organ  from  England  took  its 
place.  The  Brattle  organ  was  sold  to  St.  Paul's  Church,  Newburyport, 
where  it  was  used  for  eighty  years.  In  1886  it  was  bought  for  $450  by  St. 
John's  Church,  Portsmouth,  N.  H.,  for  use  in  their  new  mission  chapel 
on  State  street,,  and  continues  in  service  at  that  place  to  this  day. 

*Ibid. 

tThe  following  is  an  extract  from  the  record  of  the  church:  "At  a  naeeting  of  the 
Gentlemen  of  the  Church,  this  3rd  day  of  August,  1713,  Referring  the  Orgains  Giveing 
them  by  Thomas  Brattle,  Esq.,  Decsd,  voted,  that  this  orgin  be  accepted  by  the  Church." 

XHistory  of  King's  Chapel,  Rev.  W.  P.  Greenwood. 


64 


MUSIC  teachers'  national  association. 


At  some  time  prior  to  leaving  Newburyport,  probably  in  1831,  the 
organ  was  reconstructed,  and  put  in  a  new  case.  For  the  following  des- 
cription of  the  present  condition  of  the  organ  acknowledgement  is 
gratefully  made  to  Mr.  Edward  A.  Tilton,  of  the  Portsmouth  Times,  a 
former  organ-builder,  and  organist  at  St.  John's  church  : 

"The  case  is  of  light-red  Honduras  mahogany,  and  measures  4  ft.  5  in. 
in  front,  2  ft.  7  in.  in  depth,  and  8  ft.  9  in.  in  height.  An  overhanging 
cornice  is  supported  at  either  corner  in  front  on  a  round  pillar,  resting 
upon  a  square  panneled  pedestal  reaching  to  the  base.  Within  three 
arches  above  the  keys  are  seventeen  quaker  pipes  (wooden  dummies) 
gilded.  The  key-board  slides  in  out  of  sight  when  not  in  use,  and 
is  covered  by  a  fall.  On  either  side  of  the  key-board  are  three  stops  :  Dul- 
ciana  Principal,  Stopped  Diapason,  Fifteenth  Treble,  Fifteenth  Bass  and 
Sesquialtera  Bass  manual  contains  51  keys,  extending  from  C  to  d3.  The 
wind-chest,  however,  is  bored  for  only  49  pipes,  the  keys  C  sharp  and  d 
on  the  manuals  being  stationary.  The  Stopped  Diap.,  and  Fifteenth  are 
genuine  originals  and  run  through. 

The  Dulciana  and  Principal  are  modern.  The  Dulciana  contains  31 
pipes,  extending  from  g,  and  occupies  the  upper  series  of  holes  formerly 
belonging  to  the  sesquialtera,  the  remaining  holes  being  stopped.  The 
Principal,  which  runs  through,  is  of  wood.  The  wind-chest,  slides, 
valves,  top-board,  rack-board  and  rack-board  pins  are  of  English  oak. 
The  key-board  trimmings  are  of  rosewood.  On  the  key-frame  is  written 
in  pencil,  "Mr.  Edwards,  Portland,  Me." 

There  is  also  the  address  of  an  organmaker  in  Livingston,  Me.  Upon 
one  of  the  larger  pipes  of  the  Fifteenth  are  the  names  of  "Joseph  E. 
Pike,  1831,"  and  "  E.  B.  Morse,  1831."* 

It  would  seem  from  this  sketch  that  the  organ  must  have  contained 
originally  the  following  stops  :  Stop'd  Diap.  Principal,  Fifteenth  Treble 
and  Bass,  and  Sesquialtera  Treble  and  Bass. 

It  is  a  curious  coincidence  that  the  second  oldest  organ  in  this  coun- 
try, of  which  also  a  considerable  portion  remains  to  this  day,  should  have 
found  its  resting-place  also  in  Portsmouth,  but,  in  this  instance,  Ports- 
mouth, R.  I.  Such  is  the  case  with  what  is  known  as  the  Berkeley  organ^ 
for  a  long  time  in  Trinity  Episcopal  Church,  Newport.  R.  I. 

This  has  a  record  even  more  clear  than  its  predecessor,  was  made  by 
the  celebrated  builder,  Richard  Bridge,  of  London,  and  was,  no  doubt, 
an  excellent  instrument  for  its  time.  Richard  Bridge  is  distinguished  for 
having  built,  in  1730,  the  largest  organ  in  England,  viz.,  the  one  in  Christ 
Church,  Spitalfields,  of  33  stops,  a  specification  of  which  is  given  in 
Grove's  Dictionary. 

The  Berkeley  organ,  according  to  an  account  written  by  J.C.Swaun, 
a  Newport  musician,  who  played  the  organ  from  1840-42,  was  the  direct 
gift  from  Bishop  Berkeley  to  Trinity  Church  in  1773.  A  contrary  account, 

*"  The  latter  name  suggests  some  relation  to  the  Eev.  D.  Morse,  rector  of  St. Paul  8. 
Newburyoort.  whose  son,  Richard,  was  a  most  excellent  church  organ  builder,  the 
organ  in  the  North  Church,  Portsmouth,  being  a  highly  creditable  specimen  of  his  handi- 
work."—E.  A.  TiLTON. 


EARLY  ORGANS  IN  AMERICA,  65 

however,  is  given  by  Hon.  Edward  S.  Tobey,  of  Boston,  who  writes  as 
follows:  "I  have  always  understood  that  the  town  of  Berkeley  Mass., 
was  set  off  from  Taunton  about  the  year  1730,  and  that  the  name  Berke- 
ley was  adopted  in  honor  of  Bishop  Berkeley,  at  that  time  a  resident  of 
Newport.  In  response  to  this  compliment  that  the  Bishop  sent  from 
England  an  organ  for  the  church  in  Berkeley,  and  that  the  church  de- 
clined to  receive  it,  preferring  congregational  music  exclusively.  The 
organ  was  then  given  to  the  old  Trinity  Church  in  Newport.  My  great- 
grandfather, Samuel  Tobey,  was  the  first  minister  of  Berkeley,"  etc.,  etc. 

Dr.  Wm.  A.  Cornell,  of  Boston,  a  native  of  Berkeley,  confirms  the 
account  of  Mr.  Tobey,  and  adds  that  "the  organ  was  for  several  years 
after  its  arrival  in  Berkeley  deposited  in  a  barnstable,the  church  of  Berke- 
ley having  absolutely  declined  to  receive  it."  The  Berkeley  church,  it 
may  be  remarked,  was  one  of  the  Colonial  Independent  class. 

The  account  of  Mr.  Swann,  previously  referred  to,  published  in  the 
Newport  Mercury,  March  3,  10,  17,  1883,  begins  with  an  extract  from  the 
records  of  Trinity  Church,  Feb.  27,  1773,  in  which  "The  Rev.  James 
Honeyman  is  directed  to  draw  up  a  letter  of  thanks  to  the  Rev.  Mr.  Dean 
Berkeley,  for  his  generous  present  of  an  organ  to  this  church,  and,  like- 
wise, of  thanks  to  Mr.  Henry  Newman  for  his  care  about  shipping  the 
same,  to  be  sent  to  England  as  soon  as  conveniently  may  be." 

It  is  difficult  to  harmonize  this  portion  of  the  records. 

The  following  is  Swann's  description  of  the  organ  :  "  Its  case  was  of 
English  oak,  and  of  very  beautiful  design,  about  14^  ft.  high,  8  ft.  front 
and  8  ft.  deep.  In  its  front  there  were  23  gilded  pipes,  and  its  top  was 
ornamented  with  a  crown  supported  by  two  mitres. 

The  compass  of  its  manual  was  from  C  to  d  3,  51  notes.*  Its  long 
keys  were  made  of  ebony,  and  the  short  ones  of  ivory,  with  a  strip  of 
ebony  through  the  middle  of  them;  and  ibe  keys  of  the  swell  organ  were 
placed  below  those  of  the  great  organ,  beginning  with  middle  c.  Between 
the  keyboards  was  the  maker's  name,  Ricardus  Bridge,  Londini,  Fecit, 
MDCUXXXIIL" 

The  workmanship  of  the  instrument  in  all  its  details  was  of  a  supe- 
rior quality,  and  in  tone  it  was  most  exceJlent,  and  would  compare  favor- 
ably with  any  work  of  the  kind  done  at  the  present  day. 

Its  contents  were  as  follows  : 


Great  Organ — Principal   51  pipes. 

Stopped  Diapason   "  " 

Open  Diapason   50  " 

Twelfth   "  " 

Fifteenth   "  " 

Tierce  Bass   25  " 

"    Treble   "  " 

Flute   50  " 


*Mr.  Swann  states  50  notes  and  50  pipes,  but  has  either  made  a  miscalculation,  or 
perhaps,  the  c  sharp  was  missing,  and  he  neglected  to  mention  it. 


66 


MUSIC  teachers'  national  association. 


9  Stops — Trumpet   38  pipes, 

(8  Complete  Registers)   388  " 

Small  Organ — Stopped  Diap   27  pipes. 

Op.      "      "  " 

Flute   "  " 

Trumpet   " 

4  stops   108  "   

Total— 18  stops   496  " 


There  was  one  stop  marked  "Vox  Humana,"  which  was  never 
put  in.* 

With  some  interruption,  this  organ  was  used  in  the  services  of  the 
church  until  1844,  111  years.  In  that  year  Mr.  Henry  Erben,  of  New 
York,  reconstructed  the  interior  of  the  organ,  retaining  the  case  and  two 
stops  of  the  Great  Organ — the  Open  Diapason  and  the  Flute — promising 
that  the  new  organ  should  have  two  banks  of  keys  and  an  octave  and  a 
half  of  pedals,  ten  of  them  to  be  sub-bass,  for  the  sum  of  $1150.  The 
organ  had  only  one  manual,  however,  besides  the  pedal,  and  caused  no 
little  dissatisfaction.  The  rest  of  the  Great  Organ  of  the  Berkeley  instru- 
ment, together  with  an  Op.  Diap.  and  Flute,  to  replace  those  taken  from 
the  other  organ,  the  draw-stops,  action  and  keyboard,  with  maker's  name, 
were  placed  in  a  new  pine  case,  and  this  organ  was  set  up  in  the  ante- 
chapel  of  Grace  Church,  Brooklyn,  where  it  remained  until  1850.  It  was 
then  bought  by  Miss  Sarah  Gibbs  for  St.  Mary's  Church,  Portsmouth,  R. 
I.,  where  it  remains  in  good  condition,  and  is  used  on  all  church  occa- 
sions. 

In  June,  1880,  Hook  and  Hastings,  of  Boston,  took  the  Trinity 
Church  organ,  Newport,  with  the  exception  of  the  case,  and  placed  it, 
with  some  improvements,  in  Kay  chapel  on  Church  street.  In  and 
around  the  old  Berkeley  case  in  Trinity  church  they  set  up  a  new  organ, 
and  high  up  on  its  front  we  still  read,  "Presented  A.  D.  1733,"  and  on  a 
panel  in  the  gallery  in  front  of  the  organ,  in  quaint  letters  in  gold,  on  a 
blue  ground,  is  inscribed,  "The  gift  of  Doct.  Geo.  Berkeley,  late  Lord 
Bishop  of  Cloyne."  All  that  is  left  of  the  original  is  a  part  of  the  case, 
with  its  crown  and  mitres,  and  a  part  of  the  front  pipes,  but  they  are  as 
silent  as  the  voice  of  him  who  gave  them. 

While  the  honor  of  possessing  the  first  organs  in  America  belongs 
undoubtedly  to  New  England,  it  appears  that  the  honor  of  building  the 
first  organ  in  this  country  belongs  to  New  York  City. 

Trinity  church.  New  York,  existed  in  1697,  but  not  until  1737,  when 
the  first  church  building  was  enlarged,  is  any  mention  to  be  found  made 
of  an  organ.    In  that  year  an  organ  was  built  by  Mr.  John  Clemm,  for 

*June  12,  1769,  the  vestry  voted  "to  have  a  new  stop  put  in  the  organ  from  London, 
the  Vox  Humana,  or  any  other  that  may  be  suitable,  in  place  of  one  wanting  or  missing." 

"July  9,  1779,  Doct.  Edward  Evans  was  elected  organist,  salary  £30  per  annum,  to 
commence  on  his  return  from  London;  and  he  is  to  bring  the  new  stop  for  the  organ, 
Vox  Humana,  or  some  other  necessary  addition,  for  which  the  church  will  pay  on  his 
•  return."   He  did  not  return,  and  the  new  stop  was  never  added  to  the  ojgan. 


EARLY  ORGANS  IN  AMERICA. 


67 


the  sum  of  £520,  New  York  currency,  to  which  the  vestry,  with  their 
accustomed  liberality,  added  a  gratuity  of  £40."  (1) 

It  was  a  large  organ  for  those  days,  with  three  manuals  and  twenty- 
six  stops,  (2)  but  who  Mr.  John  Clemm  was,  of  what  the  three  manuals 
and  twenty-six  stops  consisted,  etc.,  etc.,  we  have  no  information.  That 
the  American  organ  was  not  a  very  great  success,  however,  judged  by 
the  standards  even  of  that  time,  seems  proven  from  the  fact  that  twenty- 
flve  years  later  a  new  organ,  imported  from  England,  took  its  place,  and 
the  American  organ  was  oftered  for  sale.  (3)  In  1762  £500  was  paid  to 
Oeo.  Harrison  for  the  new  organ,  which,  however,  was  totally  destroyed 
with  the  church  in  the  great  fire  of  1777. 

The  church  was  rebuilt  in  1788,  and  a  third  instrument  put  in  the 
church  in  1791,  imported  from  England,  but  no  definite  information  can 
be  obtained  of  it  further  than  that  it  is  said  to  have  been  of  no  great 
power/'but"sweet  sounding  and  well  adapted  to  the  size  of  the  building." 
This  organ  undoubtedly  remained  in  use  till  the  church  was  taken  down 
in  1839,  to  be  replaced  by  the  present  edifice,  which  was  completed  in 
1846.  The  organ  built  for  this  church  by  Henry  Erben  and  finished  in 
1848,  under  the  supervision  of  Dr.  Edward  Hodges,  organist  of  the 
church,  is  described  in  Rimbault  and  Hopkins,  and  still  continues  in 
service.* 

Let  us  now  return  to  King's  chapel,  Boston.  The  Brattle  organ,  on 
its  removal  in  1756,  gave  place  to  one  which  became  almost  equally 

(1)  History  of  Trinity  Church  (New  York),  by  W.  Berrian,  p.  56. 

(2)  Dr.  MeBsiter  in  Trinity  Record,  January,  1890. 

(3)  March  24,  1761,  at  a  meeting  of  the  vestry  it  was 

"  Resolved,  That  that  there  should  be  allowed  by  this  corporation  the  sum  of  £500, 
current  money  of  New  York,  towards  purchasing  a  new  organ  for  Trinity  church,"  and 
it  was  likewise  ordered  '-that  Mr.  Thos.  Harrison  should  be  employed  as  organist  for 
Trinity  church,  and  allowed  for  his  services  as  such  the  sum  of  £18  per  quarter,  current 
money  of  New  York,  and  that  his  salary  should  commence  from  the  first  Sunday  he 
should  begin  to  play."— History  of  Trinity  Church.   W.  Berrian. 

*The  items  of  its  cost  were  as  follows: 

Henry  Erben— Organ,  per  contract  $6,300  00 

"       "        Organ  case,  per  contract   2,000  00 

"       "        Extra  work  on  organ  case   431  72 

"       "        Loss  occasioned  by  interruption  of  work   270  00 

"       "        For  loss  sustained  by  him  on  his  contract  for  organ   1,500  00 


^10,501  72 

Dr.  Edward  Hodges,  superintending  its  construction,  and  other  services   750  00 


Total  cost  $11,251  72 

The  following  record  of  the  succession  of  organists,  published  in  the  Church  Year 
Book  for  1886,  is  authentic,  according  to  the  present  rector,  Dr.  Morgan  Dix: 

John  Clemm,  appointed  1741     Organ  in  new  church  1791 

John  Eice  1744    John  Rice,  reappointed  1791 

Thos.  Harrison   1760    "William  Miiller  1795 

Jas.  Leadbetter  1764    Chas.  Wilson   1804 

John  nice*  1765    Peter  Erben   1820 

Church  destroyed  by  fire.  1777    Edward  Hodges  1839 

*Served  at  St.  John's  chapel  during  the  construction  of  the  new  church. 


MUSIC  teachers'  national  association. 


famous  by  reason  of  its  long  service  and  excellent  character.  It  was- 
made  by  Adrian  Smith,*  of  London,  and  is  said  to  have  been  approved 
by  Handel.  It  cost  £500,  and  continued  in  use  in  the  church  until  1860, 
a  hundred  and  four  years,  when  it  was  reconstructed  and  enlarged  by 
Simmons  and  Wilcox,  of  Boston.  The  excellence  of  the  Smith  organ  is 
proven  from  the  fact  that  in  the  new  organ  the  following  eleven  stops^ 
were  incorporated: 

In  the  Oreat,  Contra  Diap.,  16-foot. 

Std.  Diap.,  8-foot. 

Twelfth. 

Fifteenth. 

Mixture. 
Swell,  Op.  Diap.,  8-foot. 

Trumpet,  8-foot. 

Clarion,  4-foot. 

Mixture. 
Choir  Std.  Diap.,  8-foot. 

Flute  d' amour,  4-foot. 
The  old  case,  made  in  London,  was  also  retained,  and  this  organ, 
including  the  eleven  stops  from  the  year  1755,  was  in  use  till  1884,  when 
a  Hook  organ  took  its  place,  just  one  remove  from  the  Brattle  organ. 

Another  historic  Episcopal  church  in  Bosk)n,  Christ  church,  famous 
for  having  been  Paul  Revere's  signal  station,  is  said  to  have  received  an 
organ  brought  up  from  Newport,  R.  I.,  in  1736, f  three  years  after  the 
Berkeley  organ,  and  probably  the  third  organ  in  the  country. 

In  1752  Thos.  Johnston,  of  Boston,  built  an  organ  for  Christ  church, 
which  is  commonly  supposed  to  have  been  the  first  organ  built  in 
America,  the  Clemm  organ  in  Trinity  church,  New  York,  not  being  gen- 
erally known.  The  Johnston  organ  was  reconstructed,  in  its  interior, 
by  Goodrich,  in  1834,  though  just  to  what  extent  it  is  hard  to  say.  With 
this  modification  it  continued  in  service — until  a  few  years  ago — about  a 
hundred  and  thirty  years,  when  Hutchins,  of  Boston,  incorporated  a 
considerable  portion  of  it  in  a  new  organ  for  the  same  church.  The  long 
and  useful  career  of  this  organ  makes  it  a  most  notable  instrument. 

In  1745,  Edward  Bromfield,  born  1723,  entered  Harvard  College  1738, 
was  engaged  in  building  a  two-manual  organ  for  the  old  South  church, 
in  Boston,  to  contain  1,200  pipes,  but  his  death  in  1746  prevented  its 
completion. 

In  1743,  an  organ  built  by  J.  Clarke,  of  London,  and  purchased  by 
subscription,  was  imported  and  set  up  in  St.  Peter's  Episcopal  church, 
Salem.  In  1754  it  gave  way  to  one  by  Thos.  Johnston,  the  American 
Father  Schmidt,  of  one  manual  and  six  stops.  Messrs.  Hook  and  Hast- 
ings have  in  their  possession  a  portion  of  this  early  specimen  of  home 
manufacture,  including  the  name-board,  on  which  is  inscribed  in  Ger- 


♦HiBtory  of  American  Episcopal  Church. — Bishop  Perry. 
+History  of  the  Handel  and  Haydn  Society,  Boston.— C.  C.  Perkins. 


EARLY  ORGANS  IN  AMERICA. 


69 


man  text,  executed  in  ivory,  ' '  Thomas  Johnston  fecit,  Boston,  Nov. 
Anglorum,  1754."  The  old  London  organ  was  presented  to  St.  Michael's 
Episcopal  church,  in  Marblehead. 

Among  the  celebrated  builders  mentioned  in  Rimbault  and  Hopkins, 
is  the  name  of  Snetzler,  who  was  one  of  the  followers  of  Father  Schmidt, 
from  Germany.  Christ  church,  in  Cambridge,  contained  an  organ  by- 
John  Snetzler  in  1761,*  the  metal  pipes  of  which  were  appropriated  by 
the  patriot  troops  of  the  Revolution  and  converted  into  bullets. 

In  1790  the  old  Brattle  Street  church  in  Boston  capitulated  to  the 
organ  party,  being  the  first  Independent  church  in  America  to  admit  an 
organ,  f  So  great  was  the  opposition,  however,  that  when  the  vessel  con- 
taining the  organ  arrived  below  in  the  harbor,  a  wealthy  gentleman  of 
the  parish,  who  had  refused  to  subscribe  towards  it,  offered  to  pay  into 
the  treasury  of  the  church,  for  the  benefit  of  the  poor,  the  whole  cost  of 
the  organ  and  freight,  if  it  might  be  thrown  overboard  below  the  light- 
house. ^  As  the  minister  himself.  Rev.  Dr.  Thatcher,  was  luckily  an 
advanced  thinker  on  the  subject  of  music,  and  in  favor  of  the  organ,  he 
refused  to  be  bought  off  by  his  wealthy  parishioner. 

This  organ  was  the  work  of  an  English  builder  of  the  name  of 
Green, §  probably  Samuel  Green,  who  ranked  very  high,  and  was  much 
patronized  by  King  George  III.  The  organ  cost  £400,  and  was  used 
until  the  church  was  taken  down  in  1872.  The  year  of  its  advent,  1790, 
marks  the  first  instance  of  the  enclosing  of  a  Great  organ  in  the  Swell 
by  the  same  builders,  in  the  case  of  St.  George's  chapel  organ,  Windsor, 
and  also  the  first  use  of  pedals,  in  connection  with  the  manuals,  in  an 
organ  for  St.  James'  church,  Clerkenwell,  England,  built  by  G.  P. 
England.  A  specimen  of  the  organs  by  this  builder  found  its  way  to 
this  country  in  1802,  in  St.  Paul's  chapel.  Trinity  parish.  New  York. 
Much  of  it  still  remains  in  the  present  organ,  rebuilt  by  Odell  in  1870. 

At  Salem,  Mass.,  was  an  Avery  organ,  built  in  1800.  Avery  was 
even  more  celebrated  than  Green.  The  dates  on  his  organs  range 
between  1775  and  1808.  He  was  the  first  to  use  pedals  with  separate 
pipes,  having  applied  a  set  with  wood  pipes  to  the  organ  in  Westminster 
Abbey  in  1793. 

Such  is  the  record  of  the  more  important  early  organs  in  America  up 
to  the  beginning  of  the  present  century.  With  one  notable  exception, 
the  organs  were  all  in  Episcopal  churches,  and  for  the  most  part  English 
organs.  Of  these  it  is  interesting  to  note  that  many  are  by  celebrated 
builders  mentioned  in  Rimbault  and  Hopkins,  the  American  copies  of 
which  may  well  receive  numerous  annotations.  In  presenting  these 
accounts  as  a  preliminary  step  to  the  history  of  organ  building  in  Amer- 
ica, we  are  reminded  of  what  is  expressed  by  John  W.  Moore,  in  the 
preface  to  his  Encyclopaedia  of  1854.    " It  is  impossible,"  he  says,  "that 

*Dwiglit'8  Journal  ©£  Music,  vol.  xiz.,  p.  262. 

tHistory  of  Brattle  Street  Church.— Rev.  Sarauel  K.  Lothrop. 

XThe  Organ  Manual.— Rev.  Henry  D.  Nicholson. 

§  The  Organ  ifanwaZ.— Nicholson. 


70 


MUSIC  teachers'  national  association. 


American  music  can  do  more  than  reproduce  the  music  of  other  ages  and 
nations.  We  are  too  open  to  the  world,  too  receptive  of  all  influences 
from  abroad,  too  much  a  nation  made  up  of  others,  to  possess  a  music  of 
our  own." 

"We  are  for  a  longtime  yet  to  remain  in  the  position  of  learners." 

These  remarks  concerning  music  in  general  may  be  applied  with 
special  truth  to  the  development  of  American  organ-building  seventy 
years  ago. 


AMERICAN  COMPOSERS. 


BY  FREDERIC  GRANT  GLEASON,  CHICAGO. 

Mr,  President,  Ladies  and  Oentlemen:  The  subject  which  your  com- 
mittee has  chosen  for  me  to  speak  upon  this  morning  is  that  of  American 
composers  and  composition,  and,  as  I  have  already  given  expression  from 
time  to  time  in  the  Chicago  Tribune  to  some  of  my  views  upon  these  sub- 
jects, any  similarity  of  diction  which  may  be  noticed  is  thereby  ac- 
counted for. 

In  order  to  avoid  the  necessity  for  continuous  qualification,  let  me 
say  distinctly  at  the  outset  that  I  include  under  the  general  designation 
of  Amsrican  composers  those  who,  even  though  of  foreign  birth,  have 
made  themselves  one  with  us,  in  thought,  feeling  and  sympathy,  while 
under  the  term  "foreigners"  I  intend  to  designate  those  who,  though 
living  among  us,  are  not  of  us  and  do  not  share  our  hopes  and  aspirations 
for  the  musical  future  of  this  country. 

It  is  not  so  many  years  since  the  American  composer  was  a  thing 
despised,  and  this,  to  a  great  extent,  because  of  the  attitude  of  those  for- 
eign-born musicians  whose  necessities  or  inclinations  brought  them  to 
these  hospitable  shores.  It  was,  perhaps,  natural  for  these  gentlemen, 
with  the  traditions  of  centuries  of  musical  culture  behind  them,  the  re- 
sult of  the  labor  of  a  few  choice  spirits  belonging  to  the  same  nation  as 
themselves,  to  look  down  a  little  upon  those  whose  ancestors  were  too 
busy  reclaiming  land  from  the  virgin  forests  of  the  new  world  to  give  any 
time  01  thought  to  the  development  of  a  musical  art  culture  ;  but  those 
conditions  of  life  have  passed  away,  and  the  descendants  of  those  pio- 
neers have  taken  up  musical  work  with  the  same  ardor  and  certainty  of 
success  that  characterized  their  fathers  when  engaged  in  the  struggle  for 
existence  in  the  wildernesses  of  the  new  world.  The  scepter  of  suprema- 
cy in  tie  world  of  music  has  already  transferred  itself  from  the  Flemish  to 
the  Italians,  from  these  again  to  the  Germans,  and  it  does  not  require  any 
prophetic  powers  to  see  that  another  transfer  is  certain  to  be  made  in  the 
future,  and  this  time  to  America,  which  has  for  many  years  been  silently 
preparing  for  the  mission  devolving  upon  her.  The  amalgamation  of 
manj  people  and  nations  into  one.  through  intermixture  of  blood,  is 
slow'y  but  surely  producing  an  entirely  distinct  type  of  humanity,  a  race 
whose  intellectual  and  intuitional  powers  are  destined  to  far  surpass 
those  of  any  European  nation.  The  works  of  the  great  minds  of  the 
past  will,  of  course,  remain  as  monuments  of  what  individuals  have  ac- 
complished,— as  the  works  of  Palestrina  remain  the  real  glory  of  Italian 
ar£— and  those  of  Bach,  Beethoven  and  Wagner  will  stand  as  the  pride 
of  German  musical  art  so  long,  in  all  probability,  as  the  German  people 


73 


MUSIC  teachers'  national  association. 


sliall  continue  to  exist  as  a  nation.  But  the  utter  foolishness  of  the  sup- 
position that  the  works  of  these  masters,  great  as  they  were,  brought  the 
history  of  music  to  a  close,  will  be  evident  to  any  one  familiar  with  the 
story  of  the  past. 

A  great  deal  has  been  said  concerning  a  new  and  distinctively  Amer- 
ican school  of  music, — as  though  that  was  of  the  very  highest  import- 
ance,— that  we  should  be  able  to  point  out  in  the  writing  of  our  native 
musicians  peculiarities  which  distinguish  their  work  from  that  produced 
by  natives  of  any  other  country.  To  my  mind,  this  is  a  matter  of  little 
or  no  importance,  at  least  at  present.  It  may  be  said  of  an  American 
school  of  composition,  that,  like  the  Kingdom  of  Heaven,  it  "cometh  not 
with  observation." 

It  is  not  at  all  necessary  that  the  American  composer  shouljd  con- 
sciously strive  to  write  in  a  style  which  should  be  characterized  as  'Amer- 
ican "  in  the  sense  of  differing  from  the  recognized  peculiarities  to  be 
found  in  the  works  of  writers  belonging  to  other  nationalities.  It  i^iW  be 
quite  sufficient  for  the  present  if  he  possesses  ideas,  with  the  scholarship 
required  to  express  them  in  accordance  with  the  best  standards  o^  exist- 
ing models — that  is,  with  the  technical  knowledge  required  to  placb  what 
he  has  to  say  in  the  best  possible  light  before  his  hearers,  regar(iless  of 
whether  the  work  possesses  a  distinctively  national  character  or  sjiggests 
what  a  well-schooled  German  or  other  composer  might  be  presumed  to  do 
with  the  same  thoughts.  As  there  has  not  yet  been  developed  an|Ameri- 
can  school  of  composition,  and  there  is  no  style  of  writing  to  wljich  the 
name  American  can  be  properly  applied  by  way  of  distinction,  there  are 
no  standards  to  be  offered  other  than  those  of  good  taste,  and  the  ques- 
tion of  the  formation  of  an  American  school  may  safely,  as  it  ndust  be 
necessarily,  left  to  the  future. 

No  amount  of  anxious  thought  and  conscious  search  after  originality 
will  make  a  National  school  of  writing,  yet,  if  every  American  composer 
does  simply  the  best  that  is  in  him,  it  will  not,  perhaps,  be  so  veil^  long 
in  making  its  appearance.  The  American  student — the  composer  bf  the 
future — needs  first  of  all  to  be  thoroughly  acquainted  with  the  riaster- 
works  of  the  great  writers  of  the  past;  to  familiarize  himself  with  the 
best  musical  thought  of  epoch  making  geniuses,  until  the  various  Retails 
of  constructive  science,  both  harmonic,  melodic  and  formal,  have  become 
easy  for  him  to  handle.  When  this  is  done  he  is  ready  to  clotbe  hislideas 
in  a  fitting  garb,  and  possesses  the  power  of  artistic  discriminatiln,  in 
choosing  the  most  appropriate  methods  of  treatment  for  his  thou*ghts. 
In  writing  for  an  orchestra  he  encounters  a  new  difficulty — wait  of 
familiarity  with  the  sound  of  different  instruments  and  the  variatioi^s  of 
each  in  different  portions  of  its  compass,  as  well  as  the  technic  of  e^ch 
in  matters  of  execution.  For  the  study  of  tone  quality,  orchestral  (bn- 
certs,  such  as  are  to  be  had  in  almost  any  of  our  large  cities,  maybe 
made  available.  By  listening  intently,  the  tone  quality  of  the  vari(Ws 
instruments  may  be  recognized,  at  first  singly,  but  by  degrees  in  coml^i- 
nation  with  others,  until  in  time  even  the  more  intricate  combinatioi\s 


AMERICAN  COMPOSERS. 


73 


can  he  analyzed  with  at  least  tolerable  accuracy  when  first  lieard.  An 
excellent  way  to  supplement  this  study,  and  one  which  I  found  of  the 
greatest  value  in  my  own  experience,  is  to  select  some  orchestral  work 
which  is  sure  to  be  frequently  played,  and  study  the  score  until  it  is 
thorougly  familiar,  endeavoring  to  form  as  perfect  a  conception  as  pos- 
sible of  the  effect  of  each  passage.  When  the  ability  to  hear  from  the 
written  page  is  obtained  and  one's  conception  of  how  each  passage  ought 
to  hound  can  be  quickly  recalled,  attend  a  performance  of  the  work 
chosen  and,  score  in  hand,  compare  the  impressions  with  the  reality.  At 
first  there  will  be  much  to  correct,  but  this  correction  is  the  best  of 
study.  After  a  first  hearing  take  every  opportunity  of  repeating  the 
comparison,  in  the  meantime  preparing  another  work  in  a  similar  man- 
ner. By  degrees  the  power  of  forming  a  correct  conception  from  the 
score  will  be  acquired,  and  likewise  the  ability  to  place  one's  own  ideas 
upon  paper.  As  regards  the  technic  of  the  instruments,  much  may  be 
learned  from  critically  observing  their  treatment  in  the  scores  chosen  for 
study,  which  are  at  least  likely  to  be  standard  works.  Much  may  be 
learned  from  books  upon  instrumentation,  though  there  is  at  present  a 
great  lack  of  works  which  treat  of  tlie  modern  orchestra  in  a  clear  and 
comprehensive  manner.  To  illustrate  my  meaning  clearly  I  will  refer 
to  the  treatise  upon  instrumentation  by  Hector  Berlioz,  one  of  the  great- 
est masters  of  instrumentation  who  ever  lived.  The  examples  which  he 
gives  in  score  are  well  chosen  and  in  every  way  admirable.  Yet  the 
conditions  are  so  different  at  the  present  day,  especially  in  this  country, 
that  his  statements  cannot  always  serve  as  a  guide  to  the  student.  To 
cite  a  single  example,  he  gives  great  prominence  to  a  table  of  the  so- 
called  "natural"  horns  in  various  keys,  according  to  the  old  methods  of 
employing  them,  and,  though  speaking  also  of  the  valve-horn,  devotes 
most  of  his  remarks  to  the  others  as  those  most  commonly  used.  But  in 
the  orchestra  of  to-day  the  composer  has  only  one  kind  of  horn  available 
— that  keyed  in  F.  As  this  is  a  valve  Jiorii  it  has  practically  all  the  chro- 
matic tones  at  easy  command  of  the  player,  provided  only  that  too  rapid 
changes  are  not  required  of  him.  The  player  of  to-day  uses  this  horn 
exclusively,  transposing  whatever  may  be  written  for  horns  in  other 
keys.  This  of  course  requires  an  expenditure  of  extra  brain  power,  and 
the  player  is  not  always  as  sure  as  he  would  be  if  such  transposition 
were  not  demanded  of  him.  Thus  the  novice,  following  the  impressions 
received  from  Berlioz  would  be  likely  to  write  more  or  less  unskillfuHy 
for  the  horns,  besides  treating  them  in  a  manner  quite  different  from  the 
modern  practice.  The  best  way  of  all,  as  I  can  testify  from  experience, 
is  to  study  each  of  the  more  important  instruments  sufficiently  to  obtain 
at  least  a  general  idea  of  its  technic  and  difficulties.  In  the  course  of 
such  study  one  may  also  obtain  an  excellent  idea  of  its  tone-color.  Any 
great  degree  of  facility  is  not  required — it  will  be  enough  to  obtain  a 
knowledge  of  the  system  of  fingering  and  the  way  to  produce  the  differ- 
ent tones  of  its  scale,  and  |  this  does  not  require  such  an  extraordinary 
outlay  of  either  time  or  patience.    The  determined  student  will  in  every 


74 


MUSIC  teachers'  national  association. 


case  find  a  way  to  learn  instrumentation  either  with  or  without  a  teacher, 
though  it  cannot  be  denied  that  the  aid  of  a  competent  instructor  will  be 
of  great  value  in  smoothing  the  way  to  a  mastery  of  this  difficult  art. 

It  might  naturally  be  assumed  that  the  choral  societies  of  this  coun- 
try, with  a  membership  consisting  largely  of  Americans,  would  be  found 
foremost  in  the  work  of  fostering  American  art,  but  such  has  unfortu- 
nately, but  seldom  been  the  fact  In  the  case  of  ons  prominent  organiza- 
tion, and  I  believe  of  many  others,  a  practice  prevails  of  looking  to  Eng- 
land for  nearly  every  new  work  which  it  produces,  and  it  scarcely  can  be 
induced  to  present  an  American  work  of  any  magnitude  to  its  public. 
When  Arthur  Sullivan  wrote  his  "Golden  Legend,"  it  was  produced iwith 
alacrity — unmindful  of  the  fact  that  Dudley  Buck  had  written  a  far  bet- 
ter one.  The  attitude  of  the  management  of  the  club  to  which  I  refer 
has  been  distinctly  unfavorable  to  American  composers  for  years  past, 
and  in  this  respect  does  not  stand  alone.  The  Worcester  (Mass.)  Festival 
management  affords  another  example  of  unfriendliness  towards  Ameri- 
can composers,  though  its  attitude  toward  them  has  changed  somewhat 
of  late.  Thus,  those  whose  place  it  was  to  foster  American  talent,  have 
failed  in  their  manifest  duty  toward  their  countrymen,  Foreign  works 
have  almost  invariably  been  given  the  preference  over  native  ones— -even 
when  the  latter  were  the  best,  Under  such  circumstances  it  is  not  in  the 
least  surprising  that  the  American  composer  was  looked  upon  with  dis- 
trust by  those  who,  having  no  critical  judgment  of  their  own,  imitated 
the  attitude  of  others  who  occupied  positions  of  prominence  in  the  mu- 
sical world,  and  faithfully  echoed  the  opinions  of  those  critics  of  foreign 
birth  who  were  totally  unable  to  see  anything  of  good  in  any  work  which 
did  not  come  from  a  writer  of  their  own  nationality.  Let  it  be  distinctly 
understood,  that  by  no  means  all  the  writers  for  the  press,  who  are  of 
foreign  birth  or  parentage  are  included  in  this  condemnation:  on  the 
contrary  there  are  those  who  have  shown  their  sympathy  with  American 
art,  and  while  not  abating  one  iota  their  unswerving  fidelity  to  a  high 
ideal,  or  to  their  duty, — that  of  guiding  and  moulding  public  opinion 
in  accordance  with  those  ideals,  have  yet  manifested  their  friendly  feel- 
ing. Toward  his  brother  composers,  from  whatever  nationality  they 
may  have  sprung,  I  feel  sure  that  the  American  composer  has  none  but 
the  kindliest  feelings — and  for  myself  at  least  I  can  say  that  some  of  my 
most  valued  friends  did  not  first  see  the  light  within  the  boundaries  of 
the  United  States. 

But  for  the  foreigner  who  comes  to  these  shores  for  the  sole  purpose 
of  gathering  American  dollars,  remaining  foreign  in  every  thought  and 
feeling,  besides  showing  upon  all  possible  occasions  his  disdain  for  Amer- 
ican writers,  vocalists  and  instrumentalists,  there  should  be  no  sentiment 
but  contempt.  Such  examples  are  familiar  to  all  of  us.  Something  after 
this  sort,  at  least  so  far  as  retaining  his  foreign  prejudices  is  concerned, 
was  an  orchestral  leader  who  for  some  years  labored  in  this  country. 
Brought  from  Germany  and  placed  at  the  head  of  an  orchestra  supported 
by  the  princely  donations  of  an  American  citizen,— given  entire  authority 


AMERICAN  COMPOSERS. 


75 


regarding  the  choice  of  works  to  be  presented, — he  did  nothing  for 
American  art  during  the  early  years  of  his  reign,  nor  did  he  acknowledge 
the  claim  of  any  American  composer  to  a  hearing  until  the  latter  part 
of  his  stay  in  this  country,  though  there  lived  in  the  city  where  he 
swayed  the  destines  of  one  of  the  finest  orchestras  in  the  world,  several 
composers  whose  works  were  entitled  to  a  place  by  the  side  of  the  best 
writing  of  the  present  time.  In  fact  it  would  scarcely  be  an  exaggeration 
to  say  that  during  the  first  years  of  his  incumbency  he  was  not  conscious 
that  such  a  being  as  an  American  composer  existed  and  there  are  others 
— occupying  high  positions — who  are  equally  ignorant  in  this  respect. 
Even  his  tardy  recognition  of  American  writers,  is  perhaps  to  be  ascribed 
to  the  pressure  of  public  opinion,  rather  than  any  real  appreciation,  or 
sympathy  with  American  endeavor  in  this  direction.  In  short  he  left 
this  country  at  last,  (as  far  as  can  be  judged)  with  the  same  tendencies,^ 
feelings  and  prejudices  which  he  brought  with  him  from  the  old  world. 
Such  a  man  has  no  proper  place  among  our  people.  Contrast  with  his 
attitude  that  of  Anton  Seidl,  who  speedly  declared  his  intention  of  mak- 
ing America  his  permanent  home,  by  applying  for  naturalization  papers,^ 
and  has  taken  up  the  cause  of  the  American  composer  in  his  Brighton 
Beach  concerts  of  last  year,  and  this  in  no  uncertain  way,  but,  possess- 
ing the  courage  of  his  convictions,  made  known  his  attitude  toward 
American  art  in  a  few  honest  and  earnest  words  spoken  last  season  be- 
fore those  concerts  began.  But  in  this  connection  our  own  Theodore 
Thomas  should  not  be  overlooked.  Though  born  in  Germany  he  has 
long  been  one  with  us.  His  self-sacrificing  work  for  years,  devoted  to 
leading  the  American  people  to  an  appreciation  of  what  is  best  and 
greatest  in  musical  art,  was  carried  on  with  an  unswerving  determina- 
tion, in  spite  of  the  pecuniary  losses  and  obstacles  which  few  are  in  a 
position  to  estimate,  and  which  would  have  appalled  and  crushed  a  less 
resolute  will.  And  the  fruit  of  his  labors  is  seen  throughout  this  country 
to-day.  Except  for  his  work  in  the  past,  in  creating  and  supplying  a 
demand  for  good  music  where  none  existed  before,  it  is  doubtful  if  the 
Boston  Symphony  Orchestra  could  afford  to  travel  through  the  country 
—and  equally  doubtful  if  New  York  would  to-day  possess  the  Metropoli- 
tan'operatic  establishment. 

Theodore  Thomas  has  been  charged  with  being  inimical  to  American 
music  and  unwilling  to  play  works  by  American  composers,  but  such  is 
not  the  case.  There  is  not  an  American  composer  of  orchestral  music, 
of  any  note,  whose  name  has  not  figured  upon  his  programs  in  past  years 
— sometimes  before  any  other  conductor  would  look  at  his  works.  Mr. 
Thomas  has  always  shown  himself  ready  and  willing  to  produce  any 
American  work  which  showed  real  merit,  and  the  complaints,  in  many 
cases,  come  from  those  whose  works  are  not  worthy.  I  recall  one  cir- 
cumstance which  occurred  many  years  ago,  which  may  serve  as  an  illus- 
tration. A  score  by  one  of  those  aggrieved  authors  was  sent  to  me  for 
examination,  with  a  request  for  an  opinion  as  to  its  merit,  and  with  the 
statement  that  the  composer  felt  that  he  had  been  unjustly  treated  by 


76 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


Mr.  Thomas,  the  intention  evidently  being  to  obtain  the  endorsement  of 
as  many  musicians  as  possible,  and  then  make  the  matter  public  as  a  case 
of  gross  injustice.  Upon  the  first  page  I  found  parkllel  fifths  of  the  worst 
description — and  between  the  trombones  at  that.  A  little  further  on, 
there  were  notes  written  which  did  not  exist  in  the  instruments  to  which 
they  were  assigned.    My  opinion  was  brief  but  expressive. 

The  work  which  the  M.  T.  N.  A.  has  been  doing  for  American  music 
is  indeed  a  noble  one,  and  its  present  endeavor  to  secure  an  orchestral 
and  choral  fund  to  enable  it  to  continue  its  good  work  without  being 
obliged  to  call  for  outside  assistance,  as  is  now  the  case,  is  deserving  of 
the  warmest  support  from  everyone  who  has  at  heart  the  interests  of 
music  in  this  country,  and  especially  of  native  endeavor.  It  has  been 
the  policy  of  the  Association,  ever  since  it  had  a  distinct  policy,  to  foster 
the  creative  powers  of  American  musicians  and  equally  those  of  foreign- 
ers who  identified  themselves  with  this  country  and  its  future.  There- 
fore do  we  speak  of  "American  and  resident"  composers,  the  latter  term 
including  all  who  have  become  at  heart  identified  with  us,  no  matter  what 
country  gave  them  birth. 

The  American  movement  in  music  may  be  said  to  have  begun  with  a 
piano  recital  given  by  our  honored  ex-president,  Calixa  Lavallee,  at  the 
Cleveland  meeting  of  the  Association.  This  recital  was  devoted  entirely 
to  works  by  American  composers,  and  was  undertaken  at  the  request  of 
Mr.  E.  M.  Bowman,  at  that  time  filling  his  second  term  as  President  of 
the  Association.  Though  something  had  already  been  done  by  others 
at  different  times,  in  the  way  of  affording  a  hearing  to  American  com- 
posers, it  does  not  appear  that  the  work  had  been  undertaken  in  any  defi- 
nite way  or  upon  so  large  a  scale  as  that,  even.  As  from  the  hour  of  this 
recital  we  have  to  date  the  origin  of  a  distinct  and  determined  movement 
for  the  recognition  of  native  talent,  and  as  the  recital  itself  was  planned 
by  Mr.  Bowman  and  undertaken  in  response  to  his  solicitation,  it  would 
appear  that  he  is  fully  entitled  to  be  called  the  Father  of  the  American. 
Movement.  Great  credit  is  due  to  Mr.  Lavallee  for  the  willingness  with 
which  he  entered  Into  the  plan  and  for  the  ardor  manifested  in  its  carry- 
ing out. 

A  recital  of  American  compositions  is  not  such  an  unusual  thing  at 
present,  but  at  that  time  it  cost  something  of  self-abnegation  to  under- 
take it— even  as  it  cost  something  to  be  a  Christian  in  the  days  of  the 
persecuting  Roman  Emperors.  And  the  fact  that  our  brother  was  born 
elsewhere  than  in  the  United  States  does  not  alter  our  affectionate  regard 
for  him,  for  he  is,  notwithstanding,  an  "  American  of  Americans  !"  It 
would  be  manifestly  improper  to  pass  over,  without  acknowledgment,  the 
labors  in  the  same  cause  of  Mr.  Frank  van  der  Stucken,  who,  in  spite  of 
the  foreign  sound  of  his  name,  is  of  American  birth.  His  American  Fes- 
tival, in  Chickering  Hall,  New  York,  some  years  ago,  and  his  more  recent 
concerts  in  Paris,  during  the  great  Exposition,  are  too  fresh  in  remem- 
brance to  require  more  than  bare  mention  ;  but  prior  to  the  earliest  of 
these  undertakings  he  had  become  known  as  an  earnest  worker  in  the 


AMERICAN  COMPOSERS. 


7T 


same  direction.  Of  late  years  "American  concerts  "  have-  become  matter* 
of  frequent  occurrence,  and  give  abundant  evidence  of  the  power  lying 
behind  the  movement,  which  leads  individuals  in  many  different  sections 
of  the  country  to  arrange  such  concerts.  But  the  movement  is,  even 
yet,  only  in  its  infancy,  and  the  help  of  many  willing  hands  will  be  re- 
quired to  carry  it  to  a  culmination  when  the  American  composer  shall  be 
judged  as  generously  as  the  writers  of  other  countries  are  judged  hj 
their  own  people.  The  time  is  not  yet,  though  it  is  rapidly  approaching. 
Ability  as  a  composer  of  music  would,  strange  to  say,  even  yet  be  more 
willingly  conceded  by  the  great  mass  of  the  American  people  in  the  case 
of  a  foreigner  than  of  an  American,  for  there  is  probably  no  country  ia 
the  world  where  the  general  public  is  less  willing  to  acknowledge  merit 
in  native-born  composers  than  this.  If  an  unknown  writer  be  brought 
to  the  notice  of  either  German,  French  or  Italian  people,  through  the 
public  performance  of  a  musical  work,  the  hearers  are  prepared 
to  accept  what  he  has  produced,  upon  its  merits,  and  if  found  worthy  he 
is  at  once  enrolled  among  the  composers  of  the  nation.  And  in  the  case  of 
a  foreign  work,  or  one  bearing  a  foreign  name — presented  to  the  Ameri- 
can public — the  presumption  is  always  in  its  favor,  because  of  the  great 
works  produced  in  the  past  by  composers  of  that  nationality.  The  pub- 
lic is  prepared  to  receive  it  as  a  composition  of  importance.  With  an 
American  work  the  presumption  is  quite  different,  and  is',  in  the  majori- 
ty of  cases  at  least,  against  it  from  the  start.  It  is  a  surprise  when  a  for- 
eign work  proves  to  be  of  little  interest  or  value,  and  even  more  of  one 
when  an  American  composition  proves  to  be  of  real  worth  and  signifi- 
cance. In  one  case  a  success  is  in  accordance  with  the  expectations  of  the 
general  public  ; — in  the  other,  the  public  has  to  be  convinced,  as  it  were, 
against  its  will,  which  is  hy  no  means  an  easy  task  to  set  the  composer. 
And  this  is  not,  as  might  perhaps  be  inferred,  due  to  the  difference  be- 
tween the  writings  of  American  and  foreign  composers,  but  largely  be- 
cause, years  ago,  there  were  no  native  composers  whose  work  could  com- 
pare favorably  with  that  produced  by  writers  of  other  nationalities,  and 
Americans  became  accustomed  to  look  for  their  supply  of  music  to  other 
nations  which  had  produced  men  of  great  genius.  The  work  of.  these 
great  musical  minds  in  the  past  has  produced  a  sort  of  presumption  of 
merit  in  the  case  of  every  other  and  more  recent  composer  of  the  same 
nationality,  and  at  the  same  time  the  effect  of  this  attitude  of  mind  has 
been  to  discredit  the  work  of  native  Americans.  This  prejudice  has 
been  slowly  passing  away  of  late  years,  owing  in  a  large  measure  to  the 
labors  of  E.  A.  McDowell,  Dudley  Buck,  George  W.  Chadwick,  Arthur 
Foote,  J.  K.  Paine  and  others.  The  works  of  these  men,  had  they  been 
heard  in  any  foreign  country,  as  productions  of  natives  of  that  country, 
would  have  been  received  with  far  warmer  appreciation  than  has  been 
granted  them  here,  and  the  sentiment  of  a  foreign  public  would  have  ac- 
corded their  authors  a  much  higher  rank  among  composers  than  ha& 
yet  been  assigned  them  by  their  own  countrymen.  In  not  a  few  cases  the 
American  composer  secures,  abroad,  successes  which  are  denied  him  on 


78 


MUSIC  teachers'  national  association. 


this  side  of  the  Atlantic,  and  when  Americans  learn  to  properly  appre- 
ciate their  own  writers,  their  importance  will  be  correspondingly  en- 
hanced in  the  eyes  of  other  nations.  All  that  the  American  composer 
ought  to  ask,  is  that  his  work  may  be  judged  intelligently,  according  . to 
its  merits,  without  either  favor  or  prejudice — a  requirement  which, 
strange  to  say,  is  much  more  freqently  fulfilled  abroad  than  at  home. 

American  brains,  directed  by  energy  and  will,  have  made  themselves 
felt,  and  secured  acknowledgment  in  all  departments  of  art  and  science, 
though  less  so  in  music  than  in  any  other  form  of  art,  but  with  everyday 
added  to  the  life  of  this  youthful  nation,  native  writers  are,  by  means  of 
their  excellent  achievement,  forcing  the  world  to  acknowledge  them  as 
worthy  laborers  in  the  vineyard,  and  if  America  has  thus  far  produced  no 
writers  entitled  to  rank  with  some  of  the  greatest  composers  of  the  past, 
there  are  yet  several  whose  merits  entitle  them  to  stand  among  the  great 
ones  of  the  present  day.  It  is,  after  all,  only  a  question  of  time  when 
America  will  possess  composers  in  no  respect  inferior  to  the  greatest,  and 
the  work  of  the  native  writers  of  to- day  aids  in  smoothing  the  path  for 
the  future  genius,  who  will  surely  be  born  sooner  or  later. 


ORCHESTRAL  COMPOSITION. 


BY  JOHANN  H.  BECK,  OF  CLEVELAND. 

Mr.  President,  Ladies  and  Oentlemen: 

In  surveying  the  field  designated  by  the  term  ''composition/'  I 
found  it  to  be  of  such  extent  that  an  intelligent  and  satisfactory  treat- 
ment within  the  limits  of  one  short  essay  was  impossible.  I  prefer, 
therefore,  to  take  up  a  single  branch,  and  shall  confine  my  remarks  to 
the  domain  of  orchestral  composition,  rather  than  run  the  risk  of  making 
desultory  and  illogical  statements  on  a  subject  which  demands  such 
minute  and  critical  treatment  as  the  general  term  "composition''  would 
call  for. 

Originally,  instrumental  music  was  evolved  from  song  music,  and 
was  nothing  more  than  a  transcription  of  the  voice  parts  for  the  corre- 
sponding instruments.  The  next  step  in  the  development  was  composi- 
tion for  the  instruments  themselves  ;  but  still  they  were  treated  as  voices 
and  the  musical  form  remained  the  same.  This  style,  owing  to  the 
many-sided  technic  and  greater  compass  of  the  instruments,  gradually 
assumed  those  characteristics  which  astonish  us  in  the  works  of  Bach 
and  Handel.  For,  although  Bach  displays  a  keen  perception  of  the 
sesthetical  characteristics  of  the  single  instruments  and  of  their  technical 
possibilities  at  his  time,  and  although  he  has  never  been  surpassed  in 
versatility  of  conception  in  these  respects  (as  the  various  violin,  flute, 
oboe,  horn  and  'cello  solos  to  be  found  in  his  numerous  works  suffi- 
ciently attest),  yet,  in  his  scores  we  find  combinations  (such  as  three 
oboes,  three  trumpets  against  a  weak  proportion  of  strings,  and  low- 
lying  contrapuntally  developed  oboe  parts)  which,  in  the  ensemble,  have 
a  very  peculiar  and  unsatisfactory  effect  for  the  modern  ear. 

On  the  other  hand  some  of  his  nuances  for  the  horn  are  of  surpass- 
ing beauty,  and  have  never  been  imitated,  much  less  equaled,  by  the 
masters  who  came  after  him. 

Handel's  orchestration  is  often  so  sketchy  and  superficial,  that 
Mozart  was  induced  to  rescore  his  greatest  work — "  The  Messiah." 

Gluck,  who  from  a  dramatic  standpoint  is  equally  as  great  an  indi- 
vidualizer  as  Bach,  is  much  more  nearly  related  to  our  conception  of 
sonority  than  either  Bach  or  Handel.  Only  in  his  peculiar  doublings  of 
the  major  third  and  leading  tone,  does  he  at  times  grate  upon  modern 
ears. 

Haydn,  with  a  fine  intuitive  perception  of  true  genius,  built  up  his 
scores  with  a  keen  appreciation  of  the  position  and  a  quick  ear  for  the 
combined  effect  of  the  different  instruments  for  which  he  wrote.  Indeed 


80 


MUSIC  teachers'  national  association. 


with  him  orchestral  scoring,  in  our  modern  sense,  first  began.  His 
healthful  manhood,  his  childlike  simplicity,  his  jovial  cheerfulness,  his 
contagious  humor,  are  reflected  in  his  scores  as  the  sky  is  reflected  in  the 
bosom  of  the  earth-embracing  ocean. 

But  what  elevates  Haydn  to  the  proud  position  of  "father  of  mod- 
ern instrumental  music,"  is  the  fact  that  he  created  a  special  form  for 
instrumental,  entirely  distinct  from  vocal  forms  and  based  upon  the 
inner  requirements  and  necessities  of  the  various  individualities  of  the 
orchestra. 

Mozart  is  the  man,  however,  who  evolved  the  typical  orchestra. 
His  orchestra  is  capable  of  universal  expression.  Each  and  every 
instrument  has  its  allotted  task  to  perform  in  expressing  the  general 
idea.  The  quaint  passage  for  flutes,  oboes,  clarionets,  horns  and  fagotts 
in  the  *' Zauberflote"  overture,  the  stony  inflexibility  of  the  trombones 
in  the  last  act  of  "Don  Juan,"  have  lost  none  of  their  genial  freshness 
nor  terrible  originality  after  the  lapse  of  nearly  a  century  of  intense 
musical  activity. 

Form  and  orchestration  have  developed  enormously  since  Haydn's 
and  Mozart's  time,  but  the  foundation  given  by  them  has  sustained  no 
radical  change,  and  probably  never  will. 

1  think  all  musicians  agree  that  in  Beethoven  the  idea  and  its  expres- 
sion form  a  perfect  equation.  No  composer  ever  lived  who  had  such 
ideas  to  express  as  he  did.  One  has  only  to  open  a  score  of  his  and  turn 
to  the  "  Durchf iihrung  Satz"  to  become  cognizant  of  that  fact.  Out  of 
deep  brooding  chaos  gradually  arise  gigantic  forms,  such  as  it  hath  been 
vouchsafed  to  no  other  musician  to  conjure  up. 

If  we  study  his  scores  attentively  they  begin  after  a  while  to  assume 
a  distinct  physiognomy,  even  to  the  eye;  as  one  reads  one  sees,  as  in  a 
vision,  the  enthusiastic  face  of  the  young  Beethoven  glowing  through 
the  lines,  or  the  more  reverend  countenance  of  the  grave  and  mature 
artist  who  has  embodied  the  whole  of  his  life  in  his  art  and  has  become 
the  great  and  forgiving  and  patient  Beethoven  of  the  last  period,  ready 
to  lay  down  his  pen  and  rest. 

From  the  scores  of  his  first  symphony  and  the  ballet  music  to  "  Pro- 
metheus," with  their  oft-recurring  reminiscences  of  and  avowed  alle- 
giance to  Haydn  and  Mozart,  onward  through  the  "Egmont"  music  and 
the  fifth  symphony,  with  their  perfect  equality  of  thought  and  expression, 
to  the  mass  in  D  and  the  ninth  symphony,  with  their  gigantic  climaxes 
of  feeling  and  prophetic  forebodings,  what  a  journey  ! 

If  I  were  asked  which  piece  of  purely  instrumental  music  I  consid- 
ered as  typical  of  our  entire  musical  era,  I  should  unhesitatingly  answer, 
"  the  first  movement  of  the  ninth  symphony." 

How  interesting  to  note  the  advance  which  Beethoven  made  in  the 
breadth  and  freedom  of  his  phrasing!  How  the  great  underlying  princi- 
ple of  all  his  technical  applications  in  practice  was  a  superb  confidence 
in  the  common  rhythmic  perception  of  mankind,  and  his  works,  which, 
to  the  august  critics  of  his  own  time,  seemed  a  mass  of  license,  irregu- 


ORCHESTRAL  COMPOSITION. 


81 


larity  and  lawless  anomaly,  are,  when  approached  from  the  direction  of 
the  great  common  rhythmic  sense  of  humanity,  most  eloquent  music. 

I  cannot  pause  here  without  a  remark  on  the  latter  quartets.  Of 
course,  to  the  young  student  they  must  be  mostly  dark,  but  to  the  older 
soul  they  are  as  the  light  itself;  and  it  may  be  fairly  said  that  one's  love 
and  reverence  for  them  may  be  taken  as  a  gauge  of  the  exaltation  of 
one's  growth.  The  higher  and  sweeter  we  are,  the  deeper  is  our  private 
glory  in  these  wonderful  hymns. 

Beethoven  in  orchestral  grouping  as  well  as  in  musical  form  modified 
the  typical  by  the  sestherical.  The  more  he  developed  his  style  the  more 
do  his  scores  show  a  marked  difference  from  those  of  his  illustrious 
predecessors,  and  the  coloristic  element  acquires  an  ever-growing  signifi- 
cance. 

After  Beethoven,  Weber  made  the  most  decided  advances  in  the  do- 
main of  tone  color.  No  composer  has  ever  understood  the  heroic  valor 
of  the  trumpet,  the  golden  romance  of  the  horn,  the  virginal  purity  of 
the  clarinet,  the  sacerdotal  seriousness  of  .the  trombone  better  than  Carl 
Maria  von  Weber.  The  adagio  of  the  "Oberon"  overture  is  from  begin- 
ning to  end  a  succession  of  the  most  wonderful  '"Klangtints,"  such  as, 
despite  Beethoven,  until  then  no  mortal  ear  had  ever  heard.  First  the  call 
of  the  horn,  interrupted  by  the  sweet  magical  tones  of  the  strings;  then 
the  downward  rustling  of  the  flutes  and  clarinets,  the  pianissimo  of  the 
brasses,  the  elegiac  use  of  the  'cello  accompanied  by  the  low  notes  of 
the  clarinet;  in  short,  up  to  the  fortissimo  stroke  of  the  entire  orchestra 
it  is  a  rapture  of  the  purest  tone  intoxication. 

In  reading  over  his  (Weber's)  scores  I  met  with  the  germs  of  so  many 
of  Wagner's  later  developments  that  Weber  appears  as  the  great  teacher, 
not  of  Wagner  alone,  but  of  the  entire  school  of  German  romanticists. 
The  divided  violins,  the  strident  basses  of  the  "Euryanthe"  overture;  the 
enchanted  splendor  of  the  "Meermadchen"  music  in  "  'Oberon,"  the  horn 
quartet,  the  ghastly  pizzicato  of  the  basses,  the  festering  low  tones  of 
the  clarinet,  the  diabolical  piccolo,  the  unholy  "Wolfschlucht"  music  in 
"Der  Freischutz;"  I  find  re-appearing  in  the  "Tannhauser,"  and  "Loh- 
engrin," "Tristan,"  "Seigfried,"  "Die  Meistersinger"  and  "Gotterdam- 
merung,"  in  a  somewhat  more  gorgeous  dress. 

Both  men  have  the  same  old  German  reverence  for  the  deep  quiet  of 
the  primeval  forest,  the  same  predilection  for  the  dwarfs,  elves,  kobolds, 
mermaids,  sandmanchen  and  giants  of  Teutonic  mythology.  Both  have 
depicted  in  glowing,  fervent  tones  the  chivalrous  grace  of  knighthood, 
the  innocent  grace  of  virginity,  the  fine  frenzy  of  the  poet,  the  portly 
dignity  of  sturdy  burgherdom,  the  stolid  humor  of  the  clown,  in  short 
the  varied  and  motley  procession  of  mankind,  with  its  strange  admixture 
of  the  ideal  and  the  animal,  and  the  noble  and  the  base. 

Years  ago  Hector  Berlioz  remarked  that  the  art  of  orchestration  had 
arrived  at  the  point  of  exaggeration.  Now  it  is  a  well  known  fact  (at 
least  to  musicians,)  that  nowhere  in  the  domain  of  music  is  there  such 
scope  allowed  for  the  unbounded  caprice  of  the  imagination,  as  in  orches- 


83 


MUSIC  teachers'  national  association. 


tral  composition.  Why,  then,  should  we  claim  that  because  orchestra- 
tion has  undergone  the  same  change  with  Wagner  and  since  Beethoven, 
which  it  did  with  Beethoven  and  since  Mozart,  that  we  arie  retro- 
grading ? 

Technical  rules  are  the  common  property  of  all  musicians  of  average 
educated  intelligence  but  in  the  great  artist  it  is  besides  these  the  delicate 
sensibility  and  vibrating  sympathy,  the  inner  and  involuntary  reproduc- 
tion of  things,  the  sudden  and  original  comprehending  of  their  dominant 
character,  with  the  spontaneous  generation  of  all  surrouding  harmonies, 
which  determine  the  complexion  of  his  score.  We  must  take  what  the 
great  artist  gives  us,  remembering  that  no  art  is  dead  so  long  as  it  con- 
tinues to  conjure  up,  to  reproduce  new  sensations.  The  mode  and  man- 
ner of  harmonic  construction  and  the  part  taken  therein  by  the  indi- 
vidual instruments  have  struck  out  into  new  paths,  and  I  firmly  believe 
that  in  this  direction  some  marvelous  achievements  are  on  the  eve  of 
being  accomplished. 

I  can  still  recall  the  time  when  I  first  heard  a  piece  of  modern  scor- 
ing. It  was  at  a  concert,  the  program  of  which  was  made  up  mainly 
from  the  works  of  tl?e  older  masters.  Near  the  close  the  orchestra 
gave  Weber's  "Invitation  to  Dacce,"  orchestrated  by  Berlioz.  I  remem- 
ber my  surprise  at  the  change  which  seemed  to  have  taken  place  in  the 
volume  and  quality  of  tone  produced  by  the  same  orchestra.  It  appeared 
as  though  the  same  had  been  greatly  increased  numerically,  and  combi- 
nations as  odd  and  strange  a«5  they  were  new  and  venturesome  continually 
assailed  my  ear.  Indeed,  the  same  instruments  which  a  moment  be- 
fore had  ravished  my  ear  with  their  own  peculiar  quality  and  tone  color, 
now  seemed  to  be  substantially  changed  and  to  speak  in  totally  different 
accents.  The  general  effect  of  the  whole  was  confusing  to  pae;  there  ap- 
peared to  be  so  many  new  voices  added  to  the  orchestra  that  the  result 
was  at  first  really  unpleeaant.  The  preceding  number  (a  Haydn  sym- 
phonj^)  had  completely  charmed  me  by  its  bouyant  and  childlike  sim- 
plicity, containing,  as  it  seemed  to  me.  all  that  ear  and  mind  required  for 
perfect  enjoyment;  and  now  came  this  nervous,  highly  wrought,  sug- 
gestive score  of  Berlioz's,  with  its  coquetting  violins,  voluptuous  harps- 
dazzling  flutter  and  amorous  'cellos,  and  all  seeming  to  move  simultan- 
eously in  such  thick  and  varied  procession  that,  I  repeat,  it  disturbed  and 
annoyed  me. 

In  seeking  for  the  cause  of  this  feeling,  I  found  that  it  was  not  so 
much  a  change  in  the  orchestra,  as  my  inability  to  assimilate  at  once  and 
for  the  first  time  all  these  new  relationships  of  sounds  and  instruments, 
which  the  marvelously  prodigious  faculty  of  Burlioz  had  evolved  from 
the  comparatively  simple  piano  score  of  Weber. 

It  was  the  same  experience  repeated  when  I  first  heard  in  the  Stadt- 
theater  at  Leipsic  a  music  drama  of  Wagner.  I  was  struck  by  the  appar- 
ent lack  of  virility  in  the  double  brasses  and  the  general  thinness  of  the 
strings.  The  aggressive  attitude  of  the  brasses  also  made  an  unpleasant 
impression  upon  my  auditory  nerve,  and  it  was  only  after  repeated 


0RCHE8TBAL  COMPOSITION. 


83 


liearings  and  frequent  perusals  of  his  scores  that  I  became  convinced  of 
the  fitness  of  what  "Wagner  wished  to  say  and  the  meane  he  took  to  say  it. 

The  idea  was  obtained,  even  among  experienced  professional  musi- 
cians, that  in  the  modern  viz.,  the  Wagnerian  handling  of  the  orchestra, 
the  peaceful  domain  of  the  strings  are  encroached  upon  by  belligerent 
members  of  the  brass  family.  While  this  may  be  in  a  measure  true  in 
cases  where  the  idea  demanded  it,  the  old  axiom  still  holds  good,  for  the 
building  up  of  a  modern  score  rests  as  much  on  the  universal  supremacy 
of  the  strings  as  it  ever  did  before.  Owing  to  the  freer  use  of  sept  and 
none  chords  a  corresponding  freer  leading  of  the  voice  has  taken  place; 
the  composer  now  writes  for  the  orchestra  with  the  freedom  which  it 
allows  and  demands,  and  no  longer  confinesi  his  orchestral  combinations 
to  the  meagre  and  one  sided  technic  of  the  piano.  The  two  greatest 
masters  of  modern  orchestration — Berlioz  and  Wagner — were  not  pian- 
ists, yet  they  both  succeeded  in  writing  some  fairly  good  orchestral 
works.  This  disproves  the  assertion  of  some  musicians  who  claim  that 
an  essential  quality  of  a  logical  score  is  its  possibility  of  l>eing  reduced 
for  the  piano. 

At  the  present  time  we  must  distinguish  between  three  schools  of  or- 
chestral writers. 

Firstly — Those  who  copy  the  typical  orchestra  developed  by  Beeth- 
oven and  his  immediate  successors.  Although  this  class  consists  princip- 
ally of  composers  of  medium  talent,  still  we  find  among  them  the  names 
of  real  masters.  The  aim  of  this  class  of  writers  is  appropriateness  in 
the  expression  of  the  musical  idea  according  to  the  accepted  classical 
standard,  and  their  works  have  the  flavor  of  having  been  arranged  rather 
than  composed  for  the  orchestra.  The  musicians  who  represent  this  class 
are  legion,  and  they  occupy  the  principal  posts  in  the  great  musical  insti- 
tutions of  Europe  and  America. 

They  form  the  great  conservative  party  in  musical  politics,  and.  as 
a  rule,  are  averse  to  musical  free  trade.  They  hold  by  the  letter  of  the 
law,  etc. 

Secondly — On  the  same  typical  orchestra  of  Beeehoven  another  school 
has  grafted  itself.  This  class,  armed  with  the  most  thorough  technical 
knowledge  of  the  orchestra  and  its  individual  members,  searches,  experi- 
ment with  new  combinations  and  tone  fusions,  striving  thereby  to  ex- 
press certain  psychological  states  and  aptitudes.  I  term  it  the  learned  or 
virtuoso  school.  Its  chief  experiments  are  Berlioz  and  Liszt,  and  it  forms- 
the  great  progressive  party  in  musical  politics,  and  decidedly  favors  free 
trade. 

Thirdly — The  self-creative,  the  genial  school  also  has  its  root  in  the 
Beethoven  orchestra.  It  manifests  itself  by  a  most  decided  inclination 
toward  the  collective  spiritual  individualities  of  the  orchestra,  and  is  uni- 
versal in  the  process  of  its  creations.  This  class  finds  in  the  orchestra 
the  vehicle,  the  body  of  its  artistic  soul,  and,  as  body  and  soul,  a  unit, 
creates  orchestral  pictures  which  manifest  the  infinitely  various  phases  of 
soul-life,  and  could  not  be  expressed  by  any  other  medium.    This  school 


84 


MUSIC  TEACHEES   NATIONAL  ASSOCIATION. 


is  represented  by  the  colossus  Wagner.  The  Vorspiele  to  "Lohengrin/' 
"Tristan  "  and  "  Die  Meistersinger  the  death  scenes  of  "  Isolde  "  and 
"Siegfried  ;"  the  song  of  the  "  Rheintochter,"  "  The  Magic  Fire  Scene'' 
and  "  Klingsor's  Rose  Garden  "  will  explain  what  is  meant  by  this  school 
of  orchestral  writers.  It  belongs  to  no  party,  for  there  are  never  repre- 
sentatives enough  in  the  world  at  one  and  the  same  time  to  form  a  party, 
but  its  deeds  are  written  in  letters  of  fire  on  the  clouds  of  heaven  ;  its 
voice,  hoarse  breathing  the  spirit  of  wrath,  of  soft  whispering  the  genius- 
of  peace,  sounds  adown  through  all  the  ages,  and  those  who  will  may  see 
and  hear. 

For  familiar  and  simple  as  music  or  singing  ordinarily  seems  to  be,, 
it  is,  if  we  analyze  it,  one  of  the  most  wonderful  phenomena.  The  wild- 
est imagination  is  totally  incompetent  to  conceive  of  what  happens  when 
we  listen  to  a  choral  symphony.  The  lowest  tone  which  the  ear  perceives 
is  due  to  about  thirty  vibrations  per  second,  the  highest  to  about  four 
thousand.  Consider,  then,  what  happens  in  a  quick  movement  when 
hundreds  of  voices  and  instruments  are  simultaneously  producing  waves 
of  elastic  air,  each  wave  crossing  the  other,  not  only  like  the  surface 
waves  of  the  water,  but  like  spherical  bodies,  and,  it  would  seem,  with- 
out any  perceptible  disturbance;  reflect  that  each  tone  produced  is  accom- 
panied by  secondary  tones,  numbering  half  a  score  ;  that  each  instru- 
ment has  its  peculiar  tone- color,  due  to  these  secondary  vibrations,  and 
finally  let  us  remember  that  all  this  crossing  and  re-crossing  of  air  wave, 
to  which  the  most  tempestuous  sea  would  be  comparatively  calm  ;  this 
clashing  of  the  various  overtones;  this  chaos  of  enormous  sounds,  this 
momentary  but  terrific  struggle  until  what  we  call  a  musical  chord  is 
born,  is  moderated  by  laws  which  determine  what  we  call  harmony  and 
by  certain  conditions  or  habits  which  determine  what  we  call  melody— 
that  all  this  must  be  reflected  like  a  microscopic  photograph  on  the  two 
small  organs  of  hearing  and  there  not  only  excite  a  sensation  or  percep- 
tion, but  sensation  followed  by  a  new  feeling  even  more  mysterious^ 
which  we  term  either  pleasure  or  pain,  and  it  will  be  clear  that  we  are 
surrounded  on  all  sides  by  miracles  far  surpassing  all  that  we  habitually 
term  such,  and  which  yet  disclose  to  the  eye  of  the  man  of  genius  laws 
which  admit  of  the  most  minute  mathematical  determination. 


MUSICAL  COMPOSITION  IN  AMERICA. 


BY  C.  L.  CAPEN,   BOSTON,  MASS. 
(Read  by  W.  L.  Blumenschein.) 

Fellow- Musicians: 

One  of  our  most  gifted  American  composers,  a  fluent,  able  contra- 
puntist, a  fijraduate  of  that  splendid  school  of  Rheinberger,  in  Munich,  is 
reported  to  have  said:  "Yes,  I  have  mastered  counterpoint,  but  in 
musical  composition  I  intend  to  make  as  little  use  of  it  as  possible."  A 
trite,  a  wise  avowal,  this.  It  more  than  hints  at  the  deepest  concern  for 
knowledge;  for  knowledge  of  one's  self — this,  the  highest  finite  knowl- 
edge; and  even  this,  not  for  its  own  sake,  but  with  the  man-artist's  inde- 
pendence of  any  such  sine  qua  non  of  mediocrity  as  artificial  means. 

If  we  would  save  counterpoint  from  becoming  one  of  the  lost  arts, 
let  us  bear  in  mind  that  even  John  Sebastian  Bach  was  great  by  depth 
and  grandeur.  He  wrote  his  counterpoint  as  he  loved;  even  as  he 
breathed  in  art's  own  atmosphere.  Even  Bach  made  as  little  use  of 
fugues  as  possible;  and  yet  with  all  his  heart  and  soul  he  made  the  most 
of  them. 

How  wondrous,  how  pure-hearted  and  even  God-given,  is  almost  any 
specimen  of  Mozart's  counterpoint.  Well  may  we  learn  from  it  that  even 
when  moving  in  the  very  grooves  of  science  he  alone  is  master  who  can 
best  conceal  their  presence. 

Leaving  this  branch  of  our  subject  but  for  a  moment,  let  us,  in  the 
meanwhile,  tarry  with  the  masters  in  their  praise  of  melody;  let  us  learn 
from  earnest,  deeply  meditative  musicians  in  their  calmest  moments  how 
the  value  of  an  art  work  consists,  not  so  much  in  the  skill  that  attends 
it,  but  in  what  it  says  to  us. 

"Melody  is  the  one,  the  only  form  of  music,"  says  Wagner,  the 
Preacher,  in  the  seventh  volume  of  his  literary  works.  "No  music,"  he 
adds,  "is  conceivable  without  melody,  and  both  are  absolutely  insep- 
arable." 

RafE,  on  the  Wagner  question,  avows  that  "  melody  alone  constitutes 
the  essence  of  all  music." 

Ambrose,  in  his  "  Culturhistorische  Bilder,"  calls  it  "the  gift  of 
heaven,  which  the  savage,  the  mountain  shepherd,  the  rustic  piper  alike 
find  spontaneously." 

A.  B.  Marx  refers  to  it  as  the  "life-blood  of  music,"  while  E.  T.  A. 
Hoffmann,  in  his  "Kreislerianna,"  says  that  "it  cannot  too  often  be 
repeated  that,  without  expressive  and  natural  melody,  every  ornament 
added  by  instrumentation  is  nothing  but  tawdry  magnificence." 

It  is  the  well-schooled  melodist  who  writes  the  brightest,  ablest 


86 


MUSIC  teachers'  national  association. 


music;  it  is  he,  of  all  others,  who  sets  the  tune  with  clearness,  unity  and 
skill,  and  makes  it  rest  upon  the  freedom  of  the  mind^  for  love  of  all 
mankind.  The  fundamental  questions  of  the  hour  but  slightly  concern 
the  contrapuntal  or  educational  acquirements  of  the  American  com- 
poser; but  with  his  gifts  and  what  use  he  makes  of  them  we  have  muck 
to  do. 

We  must  now  ask  ourselves  this  question,  namely:  what  are  the 
signs  that  in  years  to  come  musical  art  will  make  any  such  native  and 
characteristic  appearance  in  the  United  States  as  has  been  historically 
recorded  of  its  growth  and  development  In  other  lands? 

The  point  I  make  is  exactly  this:  that  more  national  melodists  are 
needed;  that  only  such  compositions  have  right  of  domicile  in  the  empire 
of  art  as  are  pervaded  through  and  through  with  the  living  breath  of  a 
creative  power.  In  seeking  for  the  manifestations  of  this  power,  we  find 
even  in  our  own  country  a  superabundance  of  labored  and  elaborate 
compositions  that  have  simply  been  influenced  by  the  science,  the  inge- 
nuity, aye,  the  atheism  of  our  age;  but  how  often  do  life  and  soul  shine 
through  them?  How  often  do  our  composers  speak  out  honestly  in  their 
compositions? 

Even  the  ceunterfeiter,  though  he  may  succeed  in  imitating  to  a 
hair  the  most  intricate  convolutions  of  one  of  Uncle  Sam's  bank-notes,  is 
regarded  with  contempt,  is  arrested  and  imprisoned.  It  is,  however,  the 
very  suggestive  feature  of  his  art  that  it  is  by  no  means  paved  with  good 
intentions.  With  the  art  counterfeiter  the  case  is  quite  different,  A 
higher  estimate  is  placed  upon  the  bank-note  than  upon  the  symbol  of 
the  man  of  genius.  The  one  must  be  protected  by  law,  the  other  is  supe- 
rior to  the  necessity  of  any  such  protection.  We  therefore  can  afford  to 
be  charitable  to  the  art  imitator.  His  art  is  paved  with  good  intentions. 
Give  the  poor  devil  rope  enough  and  he  will  hang  himself.  In  the  mean- 
time he  has  the  poor  satisfaction  of  knowing  that  one  honest  American 
tune  like  " Old  Dog  Tray,"  " Massa's  in  the  Cold  Ground,"  or  "Old 
Folks  at  Home"  will  outlive  any  of  his  worthless  imitations;  yes,  even 
the  honest  native  music,  that  has  been  composed  by  the  American  negro, 
will  outlive  a  dozen  artificial  symphonies. 

The  paradox  is  often  sung  out  to  us  in  Jeremiah  strains— and  all  our 
English,  French,  German  and  Italian  sisters,  cousins  and  aunts  join  in 
the  chorus— that  we  are  a  nation  of  foreigners.  It  is  true  that  our  not 
very  remote  ancestors  were  foreign  born  Owing  to  this,  doubtless, 
and  to  conditions  even  less  favorable,  we  seldom  experience  from  the 
musical  compositions  of  our  native  composers  anything  like  the  origin- 
ality, the  good,  substantial,  honest  melody  that  even  our  least  friendly- 
critics  are  reasonable  in  demanding  of  us.  We  have  no  national  hymn, 
it  is  true,  and  but  the  fewest  folk-songs;  yet  there  are  those  who  fain 
would  claim  for  us  an  art  that  still  requires  the  foreign  aid  of  ornament, 
not  being  like  Schubert's  anti-contrapuntal  melodies,  "when  unadorned, 
adorned  the  most." 

Among  the  very  few  works  by  American  musicians  that  have  been 


MUSICAL  COMPOSITION  IN  AMERICA. 


87 


admitted  to  the  press  of  Breitkopf  and  Hartel  in  Leipzig,  is  a  work  in 
pamphlet  form  entitled  "Ueber  die  Musik  der  Nordamerikanischen 
Wilden."  This  pamphlet  is  by  Theodore  Baker,  one  of  the  few  Ameri- 
can musicians  who,  being  honest  to  his  impulses  and  doing  directly  as 
nature  has  had  him  do,  has  attained  prominence  in  Germany  without 
finding  it  eesential  that  he  should  devote  his  valuable  time  to  musical 
composition. 

In  Mr.  Baker's  work,  a  weird  and  grotesque  variety  of  tunes  is  quoted 
from  aboriginal  sources.  Mr.  Blumenschein  will  now  perform  for  you  a 
Ponca  "Love  Song."  , 


Page  73  XXX. 

Allegretto.  PONCA  LOVE  SONG. 




i 


4 


e 


IT 

1 

— #- 

— • 

My  second  selection  is  a  Pawnee  "War  Song." 
Page  71.   XXVIL     PAWNEE  WAR  SONG. 


'4  4  4 


3: 


« 


MUSIC  TEACHERS    NATIONAL  ASSOCIATION. 


On  page  63  of  the  work  you  will  find  a  war  song  of  the  Iroquois. 
Page  63.  VIII. 


Allegro  moderato.  ^ 


IROQUOIS  WAR  SONG. 


— ^4 

-A 
-9^ 

■  -sH— M- 

D.C. 


Finally,  Mr.  Lavallee  will  perform  a  Ponca  "Sun  Dance. 

Page  73.  XXXII. 
Allegro. 


PONCA  SUN  DANCE 


-h-h 


spa 


Laugh  at  all  this  aboriginal  grotesqueness,  this  first  period  of  our 
American  music  though  you  may;  call  it  coarse  and  vulgar  if  you  will, 
and  yet  who  shall  say  that  it  does  not  all  emanate  from  a  soul  completely 
filled  with  its  subject,  and  no  less  moved  in  its  innermost  heart's 
recesses?  Let  our  cultivated  American  composer  then  learn  from  his 
aboriginal  authority,  if  need  be,  that  in  the  "war  song,"  "  scalp  dance," 
"  love  song,"  and  "sun  dance"  he  has  at  least  honestly  revealed  the  very 
ideal  of  his  existence  in  the  whole-souled  fullness  of  his  powers.  Notice 
that  even  the  poor  savages'  arrangement  of  sweet  sounds,  the  legitimate 
basis  of  composition,  aptly  enough,  is  with  the  "simplicity,  truth  and 
unaffectedness"  to  which  Gliick  refers  in  his  dedication  to  "Alceste." 
These  tunes  are  honest,  fellow-musicians,  these  tunes  are  honest;  and 
being  honest  they  conform  to  Gliick's  theory  as  to  what  constitutes  the 
fundamental  principles  of  the  beautiful  in  every  work  of  art.  Far  be  it 
from  my  purpose  to  offend  or  displease  by  this  paper.  When  I  say  that 
original  compositions  by  native  composers  are  wanted  in  this  country,  I 
do  not  mean  to  imply  that  the  country  is  destitute  of  the  article  at  the 
present  time;  but  again  I  ask,  where  are  our  Folk  songs?  where  are  the 


MUSICAL  COMPOSITION  IN  AMERICA. 


89 


geniuses  among  us  that  can  write  for  children  as  wonderfully  as  did 
Schumann?  where  ig  our  Schubert,  who  confessed  his  ignorance  of 
counterpoint?  or  where  is  our  Gliick,  of  whom  Handel  said,  "he  knows 
no  more  about  counterpoint  than  my  cook?"  Why,  again  I  ask,  has  our 
national  hymn  not  been  written? 

It  is  because  too  many  of  our  musicians  are  striving  for  fame  in  the 
same  way  ;  being  touched  by  the  "  last  infirmity  of  noble  minds,"  they 
must  fain  shelter  themselves  under  Shakspeare's  authority  that  "  if  a 
man  do  not  erect  in  this  age  his  own  monument  ere  he  dies,  he  shall  live 
no  longer  in  monument  than  the  bell  rings,  or  the  widow  weeps,"  Music 
in  this  country  must  have  the  same  gradations  that  it  has  had  elsewhere, 
and  by  gradations  in  music  I  wish  to  be  distinctly  understood  as  refer- 
ring to  the  progress  from  low  to  high  according  to  nature's  laws;  from 
piano  to  forte  move  on  without  any  such  progress  backward  or  decres- 
cendo  in  musical  art  as  the  premature  development  of  symphonies  on 
our  soil  will  surely  bring  about.  The  laws  of  nature  will  not  admit  of 
any  sudden  leap,  but  require  a  gradual  and  regular  development. 

What  is  wanted  in  the  United  States  to-day  is  not  the  pseudo-com- 
poser, not  even  the  symphony  writer  if  he  possess  the  faculty  of  writing 
original  melody.  "First  the  blade,  then  the  ear,  then  the  full  corn  in 
the  ear."  Neither  have  we  any  use  for  the  melodist  without  the  science 
of  harmony,  but  the  demand  of  the  times  is  for  the  melodist  who  is  also 
a  master.  Thanks  to  the  musicians  of  France,  by  whose  example  we  are 
not  enough  influenced,  this  reign  of  twaddling  pedantry  in  music  is  fast 
approaching  an  end.  Musician,  know  thyself;  be  honest  to  your 
impulses  and  more  and  more  studious  in  following  nature.  Let  your 
melodies  be  pure  and  expressive.  Emulate  more  and  more  the  truth  and 
melody  that  one  finds  in  the  songs  of  Schubert,  or  the  expressive  natural 
harmony  that  prevails  throughout  the  scores  of  Schumann.  It  is  only  in 
these  lesser  details  that  any  such  musical  compositions  grow  out  of  date, 
while  their  broader  features  possess  a  type  of  nature  and  truth  which 
defy  the  influences  of  time  and  fashion,  and  what  is  worse,  the  curse  of 
pedantry. 


THE  PAST,   PRESENT  AND  FUTURE  OF  THE 
VOCAL  ART  IN  AMERICA. 


BY  EDMUND  J.  MYER,  OF  NEW  YORK. 

Mr.  President,  Ladies  and  Oentlemen  of  the  M.  T.  A.: 

A  retrospective  view  alone  of  the  "Past,  the  Present  and  the  Future  of 
the  Yocal  Art  in  America,"  the  subject  selected  by  your  committee, would 
consume  many  times  twenty  minutes,  the  time  allotted  me.  It  would  be 
valuable  to  us  only  in  so  far  as  we  might  be  able  to  profit  by  the  mistakes, 
the  successes  and  the  experiences  of  those  who  have  gone  before.  The 
present  concerns  all — teacher,  pupil,  singer.  The  future  depends  largely 
upon  the  preseut.  Hence,  I  shall  devote  my  time  chiefly  to  the  present 
and  the  future. 

The  art  of  song  is  founded  upon  the  science  of  voice  ;  upon  those 
grand  fundamental  principles  which  govern  and  control  all  artistic  voice 
use,  the  laws  of  Nature.  The  art  is  the  application  and  use  of  these 
principles  and  laws;  the  practically  acquired  skill  in  producing  and  con- 
trolling artistic  voice,  for  a  purpose,  a  desire,  an  effect.  We  should,  then, 
strive  to  know  those  eternal  truths  in  regard  to  the  use  of  the  human 
voice,  which  are  as  broad  as  the  earth  and  as  high  as  heaven. 

We  should  not  adopt,  blindly,  any  one  man's  ideas  or  methods  or 
any  so-called  national  method.  We  should  have  a  care,  however,  that 
we  sink  not  so  deep  in  the  well-worn  ruts  that  we  fail  to  profit  by  the 
thoughts  and  ideas  advanced  by  the  thinkers  of  the  day — those  whom 
we  may  find  are  far  in  advance  of  their  day  and  their  profession. 

THE  PAST. 

Much  of  the  teaching  of  the  past  was  not  founded  upon  the  science 
of  voice,  and  this  is  equally  true  with  regard  to  the  present.  It  was  for- 
merly confined  principally  to  the  larger  cities,  and  was  based  upon  a 
study  of  the  Italian  language.  Hence  only  the  favored  few  enjoyed  the 
privileges  of  special  training.  Vocal  instruction  was  then  principally 
given  by  broken-down  opera  singers,  or  by  pianists,  singers  whose  voices 
had  failed  prematurely,  or  who  had  spent  their  best  years  before  the  pub- 
lic, without  giving  a  thought  to  the  principles  of  teaching.  A  good  or 
great  singer  may  be  a  good  teacher.  A  good  teacher,  however,  must,  at 
least,  be  a  correct,  an  artistic  singer,  and  must  have  had  special  training 
and  experience  as  a  teacher. 

THE  PRESENT. 

During  the  last  twenty-five  years,  and  especially  during  the  last  ten 
or  fifteen  years,  a  wonderful  change  has  come  over  the  spirit  of  music 


P-^LST,  PRESENT  AND  FUTURE  OF  THE  VOCAL  ART  IN  AMERICA.  91 

in  this  country.  An  activity  and  advancement  that  is  surprising  has 
been  felt  in  every  branch  of  the  art ;  and  one  is  led  to  believe  that  the 
day  is  not  far  distant  when,  to  be  a  musician,  will  be  considered  emi- 
nently respectable.  A  wonderful  change  of  sentiment  in  this  respect  has 
swept  over  our  broad  land,  and  parents  are  now  delighted  to  know  that 
their  children,  boys  as  well  as  girls,  have  a  taste  and  talent  for  that  which, 
if  properly  fostered,  will  eventually  elevate  them  above  the  common 
walks  of  life. 

To-day  we  find  that  almost  every  town  and  city  in  the  land  has  music 
taught  in  its  public  schools.  Many  of  our  colleges  and  institutions  of 
learning  are  adding  music  to  their  regular  course  of  studies.  The  training 
of  'the  speaking  and  singing  voice  will,  no  doubt,  soon  be  universally 
considered  a  part  of  a  general  and  liberal  education. 

In  the  midst  of  all  this  general  activity  in  musical  matters,  what  are 
we,  the  vocal  teachers,  doing  to  keep  abreast  of  the  times?  Are  we  up  to 
date?  Have  we  not  as  good  and  as  strong  men  and  women  in  our  ranks 
as  can  be  found  in  any  branch  of  the  art?  "  Certainly,"  I  hear  you  say; 
and  yet  it  is  said  of  us  that,  as  a  profession,  as  a  whole,  we  are  not  as 
strong  as  the  instrumentalists.  Why  is  this?  It  can  but  be  due  to  that 
condition  of  things  which  I  heard  a  prominent  musician  call  "A  moun- 
tain of  selfishness,  prejudice  and  jealousy." 

The  members  of  the  vocal  profession,  as  a  class,  do  not  stand  by  each 
other.  One  is  afraid  that  another  may  get  hold  of  some  of  his  or  her 
original  ideas  or  methods.  The  teacher  who  thinks  or  who  claims  that 
he  knows  it  all,  and  that  his  way,  and  his  way  only,  is  the  right  way, 
must  be  either  a  knave  or  a  fool.  Fellow-teachers,  allow  me  to  say  that 
nothing  develops  one  so  much  as  imparting  that  which  he  knows  to  oth- 
ers— not  simply.to  his  pupils,  but  to  his  equals,  his  peers,  or  his  superiors, 
for  that  matter — giving  idea  for  idea,  thought  for  thought,  spark  for 
spark.  Hence  should  we  wield  the  pen,  and  every  town  and  city  should 
have  its  club  or  clubs  of  vocal  teachers.  But,  do  we  do  this?  Certainly 
not,  to  any  great  extent.  On  the  other  hand,  the  tendency  is  to  discredit 
everything  which  other  teachers  may  do,  especially  if  they  happen  to 
live  in  the  same  town  or  city.  Thus  much  is  done  by  many  toward  low- 
ering the  standard  of  their  own  profession.  It  behooves  us  to  throw 
aside  such  narrow  and  petty  prejudices  as  unworthy  of  the  liberal  and 
conscientious  artist. 

I  would  not,  by  this,  have  y©u  to  understand  me  as  saying  that  the 
vocal  profession  is  not  progressive.  On  the  other  hand,  let  us  recognize 
the  fact  that  our  profession  is  rising  in  dignity,  and  that  it  is  incumbent 
on  us  to  maintain  its  standard  and  promote  its  progress.  For  the  science 
of  voice  is  a  definite  science,  and  the  art  of  song  is  the  highest  of  the 
musical  arts.  As  has  been  so  beautifully  expressed,  "The  human  voice  is 
God's  art  evolved  from  a  Divine  organ  or  instrument  by  a  Divine  power." 

We  have,  beyond  doubt,  as  good  teachers  in  this  country  as  can  be 
found  the  world  over.  And  yet  we  are  suffering  from  that  influence  of 
the  past  which  gave  rise  to  the  impression  which  so  long  prevailed,  and 


98 


MUSIC  teachers'  national  association. 


which  still  prevails,  that  the  best  voices,  in  order  to  receive  the  best  and 
most  complete  training,  must  go  to  Europe.  But,  do  the  facts  justify 
this  prevailing  impression  ?  Every  teacher  well  knows  that  so  soon  as 
he  finds  and  develops  an  unusually  promising  pupil,  that  pupil  is  imme- 
diately set  upon  from  all  sides  and  almost  driven  to  Europe. 

The  best  voices,  it  should  be  remembered,  go  to  Europe.  But  of  the 
hundreds  who  annually  go,  how  many  are  ever  heard  of,  outside  of  their 
own  locality,  after  they  return  and  make  their  debut?  Very  few,  I  as- 
sure you.  Those  who  do  succeed  would,  as  a  rule,  with  the  same  devo- 
tion to  their  art,  have  succeeded  as  well  here;  and  they  are  usually  the 
ones  who  have  laid  a  strong  and  sure  foundation  of  voice  before 
going. 

This  is  a  progressive  country,  and  sooner  or  later,  the  tide  must  and 
will  turn.  There  is  no  doubt  but  that  the  day  will  come  in  the  future 
when  those  who  desire  the  best  possible  vocal  culture  will  seek  for  it  and 
find  it  here  in  our  own  country. 

the  future. 

The  future  depends  largely  upon  the  present;  hence  our  responsibil- 
ity; hence  the  importance  of  seeking  the  truth  and  setting  it  forth  in  the 
best  possible  light.  No  man,  in  regard  to  this  question  of  the  future, 
can  rise  above  his  own  level;  he  must  give  his  views  from  his  own  stand- 
point. 

The  future,  then,  in  my  opinion,  depends  largely  upon  two  import- 
ant points.  First — we  muat  have  a  correct  and  simplified  method  or  sys- 
tem of  voice  training,  of  voice  culture,  based  upon  a  study  of  the  English 
language  in  song.  Secondly — this  method  or  system  must  be  founded 
upon  the  science  of  voice,  upon  the  natural  movements  of  the  voice. 

The  English  language  is  destined  to  be  the  language  of  the  future  in 
song,  as  in  every  other  respect.  The  day  was,  when  all  cultured,  refined 
singing  was  in  the  Italian.  "France  first  emancipated  her  singers  by  the 
establishment  of  national  opera  in  her  own  language.  Germany  followed 
the  example  of  France,  and  Russia  is  about  to  do  the  same."  England 
and  America  are  the  only  great  nations  of  the  world  that  have  not  estab- 
lished Grand  opera  upon  a  sure  foundation  in  the  national  language.  A 
writer  in  The  American  Musician  8a.ys:  "England  is  the  only  leading 
nation  of  which  the  ruling  classes  patronize  Grand  opera  in  a  foreign 
language.  America,  when  it  cut  loose  from  political  union  with  Eng- 
land, unfortunately  received  its  musical  ideas  and  customs  through  Eng- 
lish channels.  A  badge  of  inferiority  was  thus  put  upon  the  English  lan- 
guage by  fashion,  and  this  country  was  over-run  by  singers  warbling  in 
Italian,  and  latterly  in  German,  to  American  audiences.  Even  Ameri- 
cans were  taught  to  sing  by  foreign  teachers,  like  parrots,  in  a  language 
they  did  not  understand.  The  result  has  been  a  most  lamentable  effect 
upon  standard  public  taste." 

It  is  true, an  effort  was  made  a  few  years  ago  to  establish  Grand  opera 
in  English  in  this  country,  and  in  connection  with  it  a  National  School 


PAST,  PKESENT  AND  FUTURE  OF  THE  VOCAL  ART  IN  AMERICA..  93 

for  the  training  of  singers  for  Grand  English  opera.  The  opera  failed 
artistically  for  the  simple  reason  that  the  principal  singers  did  not  under- 
stand the  English  language.  With  regard  to  the  school,  Werner's  Voice 
Magazine  said:  "Instead  of  being  national,  the  institution  is  particu- 
larly and  offensively  non- American,  the  Faculty  being  composed,  for 
the  most  part,  of  foreigners.  The  Conservatory  has  no  more  claim  to  be 
considered  national  than  has  the  American  Colony  in  Paris  to  be  called 
French,"  Think  of  a  teacher  preparing  singers  for  Grand  English  Opera 
who  was  compelled  to  use  an  interpreter.  What  would  the  French  or 
Italians  think  and  say,  if  teachers  speaking  English  only  should  attempt 
to  establish  schools  in  their  country,  for  the  purpose  of  teaching  them  to 
sing  French  or  Italian  Grand  opera.  And  yet  the  one  would  be  no  more 
absurd  than  the  other. 

This  is  a  progressive  age.  The  public  demands  more  and  more,  the 
thought,  the  sentiment,  the  soul  of  the  song,  and  not  the  sound  only.  An 
artistic  rendition  of  the  words  is  often  of  more  importance  than  the 
music.  Hence, one  of  the  most  essential  qualifications  of  an  artist  is  clear 
enunciation. 

It  is  highly  important  that  singers  study  more  than  one  language  in 
song.  But  the  constant  study  of  Italian,  French  or  German  will  teach 
no  one  to  sing  the  English.  Correct  singing  is  a  proper  control  of  breath 
exit  and  a  right  use  of  words.  The  vowel  sounds  and  consonantal  ele- 
ments of  a  language  are  the  greatest  factors  in  the  training  of  the  voice. 
Hence,  all  voices  should  first  studj''  and  master  their  own  mother  tongue. 
The  fundamental  principles  of  singing,  the  development  of  the  voice, 
should  always  be  based  upon  a  language  that  is  understood,  which,  as  a 
rule,  for  Americans  means  the  English, 

It  is  claimed  by  those  who  do  not  understand  the  English,  that  it  is 
a  difiicult  language  to  sing.  On  the  other  hand,  it  is  not  difficult  to  prove 
that  when  its  vowel  forms  and  consonantal  sounds  are  understood  and 
mastered,  it  becomes  as  easy  and  beautiful  as  any  other  language.  Who 
will  be  the  one  to  formulate  a  correct  method  or  system  of  singing  based 
upon  the  wants  and  needs  of  the  English  speaking  singer? 

My  second  proposition  is,  that  we  must  have  a  method  or  system  of 
voice  training  founded  upon  the  science  of  voice,  upon  the  natural  move- 
ments of  the  voice.  Science  is  truth.  The  art  of  song,  to  be  true  art, 
must  be  founded  upon  science  and  not  merely  upon  an  individual  or  na- 
tional style,  school  or  method.  No  man  has  a  right  to  formulate  what 
may  be  called  a  method  of  singing,  based  simply  upon  his  own  ideas,  un- 
less he  knows  beyond  a  doubt  that  his  ideas  are  in  themselves  founded 
upon  the  science  of  voice.  Anything  short  of  this  is  charlatanism  and 
quackery.  Of  two  methods  of  singing  founded  equally  upon  the  truth 
the  one  which  is  simplest  in  form  is  always  the  most  effective.  He 
who  can  present  the  truth  in  the  most  simple  and  direct  manner  is  the 
better  teacher. 

A  complete  course  of  training  must  embrace  the  three  principal  stages 
of  study;  the  mechanical,  the  intellectual,  and  the  sesthetic.    After  all 


94 


MUSIC  teachers'  national  association. 


meclianical  movements,  right  location  and  direction  of  effort,  are  under- 
stood, the  study  must  then  merge  into  the  second  stage.  All  movement 
must  then  become  automatic;  must  be  the  result  or  correct  thought;  must 
be  controlled  by  will  power.  This  being  accomplished,  the  third  stage  of 
study  is  then  in  order,  or  the  development  of  the  inner,  the  higher, 
the  emotional  nature  of  mau ;  the  study  of  the  higher  forms  of  expres- 
sion. Of  course  it  is  not  possible  or  desirable  to  absolutely  separate 
these  three  stages  of  study;  they  merge,  as  it  were,  into  each  other.  The 
object  of  song  is  the  portrayal  of  thought,  sentiment,  feeling,  emotion, 
passion,  which  must  be  done  in  an  artistic  manner  to  produce  artistic 
effect. 

Artistic  voice  is  the  result  of  breath  imprisoned,  compressed  and  con- 
trolled in  exit,  and  not  of  breath  in  escape.  He  who  has  proper  control 
of  the  breath  in  exit  has  absolute  freedom  of  form  and  action  and  the  full 
use  of  all  his  powers. 

It  is  generally  acknowledged  that  correct  breathing  is  the  foundation 
of  all  true  singing.  We  have  been  told  again  and  again  how  to  take  a 
breath;  the  subject  of  inspiration  is  well  understood.  But,  as  a  rule,  we 
have  not  been  told  what  to  do  with  the  breath  after  taken,  how  to  apply 
it,  how  to  contiol  it  in  exit.  The  subject  of  expiration  is  not  generally 
understood;  and  yet  it  is  far  the  more  important  of  the  two. 

It  is  a  law  of  nature  that,  in  order  to  secure  a  condition  of  repose  or 
control,  when  there  is  a  force  in  action  there  must  be  an  equal  opposing 
force.  In  producing  tone  we  must  have  motive  power,  driving  force, 
pressure.  If  we  desire  artistic  tone  we  must  have  a  correct  and  equal 
controlling  force  in  opposition,  resistance.  Pressure  and  resistance  must 
be  right,  and  equal  in  order  to  secure  correct  position  and  condition  at 
the  organ  of  sound.  This  question  of  resistance,  upon  which  depends 
all  correct  breath  control,  is  the  weak  point  with  almost  every  singer.  It 
is  the  missing  link  in  most  systems  of  study.  Every  singer  and  teacher 
has  felt  that  something  was  wanting,  in  their  method  of  singing  and 
teaching;  something  which  was  not  definitely  understood.  That  something 
is  resistance  in  singing. 

To  have  intensity  of  tone  we  must  have  compression;  but  the  force 
of  the  air  current  must  be  broken,  must  be  controlled  somewhere  and 
somehow;  if  it  is  not  done  in  the  right  way,  it  is  sure  to  be  done  in  the 
wrong  way.  This  is  Nature's  way  of  saving  the  voice  from  strain;  but 
even  jS'ature  cannot  resort'  to  wrong  resistance  and  produce  beautiful  ar- 
tistic tone.  There  may  be  many  wrong  points  of  resistance  or  control; 
there  can  be  but  one  right  point.  One  prominent  wrong  point  of  resis- 
tance is  contraction  of  the  pillars  of  the  fauces.  Behind  this  point  when 
it  is  made  a  point  of  control,  there  caa  be  no  resonance,  no  reinforce- 
ment; hence  the  result  is  a  hard,  harsh,  white  tone.  Another  wrong  point 
of  resistance  is  the  perverted  action  of  the  strong  throat  muscles;  when 
used  for  controlling,  they  become  interfering  muscles,  and  cause  the 
thick,  throaty  voice  which  is  so  common. 


PAST,  PRESENT  AND  FUTURE  OP  THE  VOCAL  ART  IN  AMERICA. 


95 


It  is  only  when  true  resistance  prevails  that  the  singer  can  have  abso- 
lute freedom  of  form  and  action;  that  he  can  have  perfect  breath  con- 
trol and  freedom  of  articulation;  that  he  can  disassociate  muscular 
from  vocal  effort;  that  he  can  have  full  use  of  all  his  powers. 

The  motive  power  of  pressure  we  know  lies  in  a  right  use  of  the 
strong  muscles  of  the  body;  the  diaphragm  and  the  abdominal  and  inter- 
costal muscles.* 

The  controlling  force  or  the  resistance  over  which  we  have  correct, 
direct  control,  lies  in  the  proper  use  of  the  chest  and  chest  muscles.  There 
should  be  no  direct  local  effort  above  the  chest.  All  effort  or  action  above 
the  chest,  to  be  right,  must  be  automatic,  the  result  of  correct  thought, 
or  will  power;  must  be  the  result  of  the  manner  in  which  the  motive  power 
and  resisting  forces  are  used  and  applied. 

When  the  motive  power  and  resisting  force,  over  which  whe  have 
correct  direct  control,  are  properly  managed  and  all  is  free  above  the 
chest,  then  we  secure  automatically  at  the  organ  of  sound,  the  larynx, 
accoustic  conditions  of  the  greatest  importance;  conditions  which  give  us 
the  true  point  of  resistance,  which  means  to  the  singing  voice,  artistic 
control,  tone  color,  power,  freedom,  purity  and  resonance. 

What  and  where  is  the  true  point  of  resistance,  how  is  it  secured, 
and  what  is  its  influence  upon  the  voice  ?  These  are  important  questions 
for  consideration.  I  have  not  the  time  here  to  give  my  views  upon  them, 
much  as  I  should  like  to.  One  thing,  however,  I  desire  to  say,  and  I 
regard  it  as  a  point  of  so  great  importance  that  I  wish  to  lay  special 
stress  upon  it ;  and  that  is,  that  the  delicate  vocal  muscles  them- 
selves cannot  and  do  not  control  the  exit  of  the  air  during  the  artistic 
tone  production. 

Who  will  be  the  one  to  solve  this  great  question  of  resistance  or  con- 
trol ?  Who  will  supply  the  missing  link  upon  which  depends  so  much 
the  future  of  the  vocal  art  in  America  ? 

the  deep  breathing  and  controlling  and  driving  power  of  effort  lies  in  the  dia. 
phragm  and  not  in  the  abdominal  muscles ;  a  serious  mistake  often  made.  The  action  or 
effort  of  the  abdominal  muscles  must  be  automatic;  the  result  of  a  right  control  of  the 
diaphragm. 


VOCAL  MUSIC  IN  AMERICA. 


BY  JULES  JORDAN,  OF  PROVIDENCE. 

I  am  very  glad  to  be  present  at  these  delightful  meetingB  and  am 
grateful  for  the  few  moments  accorded  me  in  which  to  express  my 
opinion  of  the  future  development  of  vocal  music  in  this  country.  I 
must  confess  that  I  am  not  able  to  see  any  signs  of  immediate  improve- 
ment in  the  conditions  which  must  exist  before  any  change  is  possible, 
and  the  reasons  are  manifold,  the  principal  of  which  are  two,  viz:  The 
lack  of  a  standard  and  uniform  method  of  singing,  and  the  disadvant- 
ages of  infrequent  lessons. 

There  is  no  branch  of  our  profession  in  which  there  is  such  diversity 
of  opinion,  as  to  methods  of  training,  as  in  vocal  music.  I  am  not  here 
to  say  what  I  believe  to  be  a  correct  method,  but  I  am  bound  to  say  that 
I  believe  that,  until  some  steps  are  taken  by  competent  persons  to  formu- 
late and  publish  a  reasonable  and  natural  method  of  singing,  one  that 
has  been  proved  to  be  correct,  devoid  of  all  eccentric  notions  about  this 
or  that  concerning  the  matter,  we  shall  go  on  as  we  have  been  and  are 
now  going. 

A  few  persons  will  sing  fairly  well  because  they  are  bound  to  sing — 
I  mean  by  this  that  some  are  so  gifted,  by  voice  or  talent,  or  both,  that 
their  eong  springs  like  a  bountiful  stream,  and  the  teacher — sometimes 
even  the  incompetent  teacher — drops  on  the  tide  and  floats  along  with  the 
singer,  steering  clear,  perhaps,  of  the  rocks  which  are  in  sight,  but  not 
dreaming  of  dangers  beneath  which  must  be  avoided,  either  by  chance 
or  by  skill,  or  all  will  be  wrecked.  There  are  such  singers  now,  and 
there  will  be  more.  But  what  of  those  persons  with  the  stubborn  and 
hidden  voices — if  I  may  so  designate  them — for  there  are  voices  of  this 
kind?  Even  as  gold  is  found  in  many  places;  sometimes  on  the  surface 
where  it  may  be  had  for  the  picking  up,  but  far  oftener  in  the  mines 
which  must  be  worked  and  the  gold  uncovered;  but  gold  is  gold 
wherever  found.  There  are  many  voices  which  at  first  are  not  promis. 
ing,  but  the  skilled  ear  and  perceptive  mind  of  the  teacher  will  detect 
the  signs  of  gold  if  they  exist.  And  the  sound  method  will  find  and 
bring  it  to  light,  and  it  may  become  as  pure  as  though  found  on  the  sur- 
face, for  gold  is  gold. 

Another  and  very  grave  disadvantage  to  both  teacher  and  pupil  is 
found  in  the  infrequency  of  lessons.  As  a  people,  we  are  said  to  be 
always  in  a  rush  and  hurry.  We  know  that  is  true  of  business,  and  I 
believe  that  art  suffers  from  the  game  cause-  How  reluctantly  the  con- 
scientious teacher  agrees  to  an  arrangement  for  lessons,  whereby  the 
pupil  will  have  but  one  lesson  a  week.    He  knows  well  and  will  tell  the 


VOCAL  MUSIC  IN  AMERICA. 


97 


pupil,  that  he  should  practice  only  a  few  things,  such  as  positions,  etc., 
but  the  pupil,  if  he  is  in  earnest  at  all,  will  be  ambitious,  and  will  try  to 
do  more  than  he  ought,  hardly  knowing  how  and  generally  failing;  will 
make  the  lessons  more  and  more  difficult  for  both,  and  after  many  les- 
sons the  various  ideas  that  have  to  be  learned  are  in  a  measure  digested 
and  the  result  made  manifest.  It  is  a  rare  experience  to  find  anyone 
who  is  able  or  who  should  be  allowed  to  practice  the  first  lesson  in  sing- 
ing apart  from  the  teacher.  I  should  like  to  say  to  every  one  who  would 
study  singing:  Take  the  first  lessons  daily — you  will  advance  more  in 
three  months  by  so  doing  than  you  will  by  two  years  of  weekly  lessons. 

The  teachers  abroad  have  a  great  advantage  over  us.  Those  of 
whom  I  know  require  the  pupils  to  come  at  least  three  times  a  week  for 
lessons,  and  more  often  daily  instruction  is  given.  This  latter  is  the  way 
to  make  rapid  progress,  especially  in  the  commencement  of  study.  The 
people's  interest  and  ambition  are  quickened  by  daily  contact  with  the 
teacher;  he  is  kept  in  the  right  way,  and  in  every  respect  it  is  the  better 
plan,  besides  being  much  cheaper  in  the  end. 

But  I  do  not  suppose  that  any  immediate  change  will  take  place  in 
these  matters.  We  have  an  enormous  country.  Teachers  are  scattered 
everywhere.  We  all  believe  we  are  doing  good,  and  we  are  all  working 
in  what  we  should  believe  the  best  way.  Our  pupils  are  drawn  chiefly 
from  the  ranks  of  business  or  from  an  exacting  social  life,  and  the  little 
time  they  can  devote  to  study  is  hardly  sufficient  to  advance  them  rap- 
idly. Few  of  them  are  studying  professionally,  and  are,  therefore,  not 
as  much  in  earnest  as  they  would  be  were  such  the  case.  Those  who 
can,  go  abroad,  giving  the  teacher  there  what  was  withheld  here,  namely, 
a  devotion  of  time  and  energy  to  study,  which,  if  given  here,  might 
result  as  happily. 

In  closing,  allow  me  briefly  to  suggest  a  plan,  which,  if  it  could  be 
adopted,  might  enlighten  us  as  to  some  of  the  methods  employed  and 
give  us  an  opportunity  of  comparing  their  merits.  I  would  have  four 
teachers  of  acknowledged  ability  and  reputation  selected  from  different 
parts  of  the  country.  They  should  have  the  privilege  of  selecting  four 
uncultivated  voices  each,  one  soprano,  one  alto,  one  tenor  and  one  bass, 
from  applicants  who  would  surely  avail  themselves  of  the  opportunity. 
If  the  teachers  would  give  their  eervices,  it  would  be  good,  though  it 
would  be  far  better  if  the  Association  would  pay  for  the  daily  lessons  of 
these  pupils,  and  so  have  the  right  to  call  for  an  exhibition  of  the  results 
of  such  a  year's  training,  at  its  conventions.  The  teacher  could  then 
both  explain  and  exemplify  his  ideas  to  some  purpose.  Of  course,  it 
would  take  time  to  settle  so  important  a  matter  ;  but  something  of  the 
kind  should  be  done,  and  I  offer  my  suggestion  for  what  it  is  worth. 
Meanwhile  we  shall  go  on  working  hard,  planting  the  good  seed,  and 
hoping  for  a  harvest  some  day,  even  if  gathered  by  other  hands. 


PROGRESS  OF  VOCAL  ART  AND  ITS  FUTURE 
PROSPECTS. 


BY  EMILIO  BELARI,  OF  NEW  YORK. 

In  order  to  make  known  the  progress  of  vocal  art,  following  it  step 
l)y  step,  it  would  he  necessary  to  give  you  an  idea  of  what  singing  was 
^imong  the  people  of  antiquity,  principally  in  Egypt,  Greece,  and  during 
the  Roman  period  ;  but  I  will  pass  it  in  silence,  and  without  stopping  to 
'examine  what  were  later  the  schools  of  singing  founded  by  St.  Ambrose, 
St.  Gregory,  Charlemagne,  San  Gall  and  others,  I  will  merely  say  that 
singing,  during  the  first  eight  centuries  of  our  era,  was  composed  of  an- 
tique melopoeia,  without  rhythm,  without  modulation,  without  precise 
tonality,  and  which  did  not  exact  the  least  vocal  ability  in  the  singers. 
It  sufficed  to  know  the  sign&,  the  tones  and  the  Latin  prosody  that  regu- 
lated the  relative  value  of  notes. 

The  chanters,  or  cantori,  tired  of  the  monotony  of  Gregorian  psalm- 
ody, began  to  vary  it  by  introducing  vocalizes  placed  generally  on  the 
^nal  or  key-note.  These  variations,  more  or  less  capricious,  according 
to  the  taste  and  ability  of  the  singer,  were  the  first  symptoms  of  the 
^reat  revolution  which  was  to  take  place  in  art,  such  as  the  advent  of 
measured  music,  the  reform  in  church  music  accomplished  by  Palestrina, 
^nd  the  creation  of  Jyric  drama  toward  the  close  of  the  sixteenth  century 
At  that  epoch,  noting  the  influence  exercised  by  singers  on  the  successive 
transformations  in  music,  singing  began  to  be  made  an  art,  and  as  music 
continued  to  progress  more  and  more,  it  enlarged  the  sphere  of  action  of 
the  human  voice,  and  the  art  of  directing  and  modulating  it  gradually 
l)ecame  more  complicated  and  more  difficult. 

The  operas  of  composers  anterior  to  Scarlati  were  simply  a  mass  of 
slow  and  solemn  recitatives,  frequently  interrupted  by  long  rests  ;  but  in 
the  eighteenth  century,  melodic  forms,  having  amply  developed,  gave 
birth  to  the  aria,  duo,  trio,  etc.,  and  singing  arrived  at  its  highest  apogee. 

Toward  the  first  half  of  the  eighteenth  century,  Pergolese  introduced 
the  bass  voice  in  opera,  where  primitively  were  employed  only  the  tenor 
and  soprano,  the  latter  being  women  and  children.  But,  as  children's 
■voices  were  not  adapted  to  the  expression  of  energetic  sentiments,  they 
were  soon  put  aside  and  replaced  by  eunuchs,  who  became  the  idols  of  the 
art  of  singing.  It  is  necessary  to  read  the  chronicles  and  study  the  music 
at  that  time  in  order  to  form  an  exact  idea  of  the  forced  prodigious  vo- 
calization accomplished  by  these  neuter  beings,  some  of  whom,  among 
them  Farinelli  and  Crescentini,  became  most  powerful  personages  at  the 
■courts  of  Philip  V.,  Ferdinand  VI.  and  Napoleon.  They  were  the  tyrants 


PROGRESS  OF  VOCAL  ART  AND  ITS  FUTURE  PROSPECTS. 


99 


of  composers,  whom  they  obliged  to  write  according  to  the  caprices  of 
their  fantasies. 

A  Uterrateur  and  musical  critic  said,  "Should  one  suppose  that  these 
sickly  and  unhappy  beings  would  be  cold  singers,  with  mannerisms,  ridic- 
ulous commedians  and  as  monstrous  morally  as  physically,  he  would  be  in 
€rror."  Not  only  did  the  greater  part  possess  voices  of  good  compass,  so- 
norous, brilliant  and  flexible,  that  they  had  subjected  to  all  the  difficulties 
of  vocalization,  but  often  gifted  with  a  beautiful  form,  an  enlightened 
taste,  and  a  wise  method  that  they  had  formed  by  twelve  or  fifteen  years* 
work,  they  were  able  to  express  all  the  shades  of  passion,  startling  whole 
audiences,  and  bringing  tears  from  the  eyes  of  the  coldest  or  the  gravest 
men,  such  as  Philip  V.  and  Frederick  the  Great.  One  cannot  form  an 
idea  of  the  transports  of  admiration  awakened,  for  instance,  by  Gun- 
dagni  when  he  sang  for  the  first  time  at  Vienna  the  role  of  Orpheus  that 
Oluck  had  written  for  him.  The  whole  Imperial  court,  all  the  women 
and  Gluck  himself,  shed  tears  while  listening  as  he  sang  in  inimitable 
style  the  sublime  air  "  Che  faro  senza  Euridice." 

In  spite  of  the  inebriating  pleasure  that  the  eunuchs  of  the  eighteenth 
century  gave  to  the  dominating  monarchs  of  Europe,  they  completely 
disappeared  from  the  operatic  stage,  not  only  because  the  musical  revo- 
lution accomplished  by  Gluck  made  them  useless,  as  they  did  not  answer 
any  positive  purpose  in  art,  but  also  for  reasons  of  humanity.  At  the  end 
of  the  first  quarter  of  our  century  not  one  existed  on  the  operatic  stage; 
Crescentini  and  Veluti  having  been  the  last  two  who  were  still  singing  in 
London  in  1826.  Rosini  replaced  them  by  feminine  [contraltos,  who  ren- 
dered and  still  render  important  service  to  the  modern  operatic  school. 

Italian  opera  has  now  spread  in  all  the  states  of  Europe,  and  as  music 
has  taken  a  more  verile  character  by  disengaging  itself  from  the  influ- 
ence of  violinists,  singing  entered  into  a  new  way,  enlarging  the  sphere 
of  action  by  the  introduction  of  the  three  male  voices,  bass,  baritone 
and  tenor. 

By  this  rapid  glance  I  have  just  thrown  on  the  past  it  will  be  seen 
that  the  art  of  singing  has  followed  the  progress  and  successive  trans- 
formation of  the  musucal  art,  and  that  its  history  has  always  been  inti- 
mately connected  with  the  history  of  music  from  the  most  ancient  days 
down  to  the  creation  of  the  modern  lyric  drama  which,  without  doubt,  is 
one  of  the  greatest  conquests  of  the  human  mind. 

Reading  with  the  fantastic  mind  of  the  poet  the  enthusiastic  musical 
chronicles  of  the  eighteenth  century,  called  the  golden  age  of  singing, 
and  those  of  the  first  quarter  of  our  century,  one  would  be  inclined  to 
ask:  In  what  marvelous  manner  did  those  immortal  virtuosi  manage  to 
possess  a  sublime  art  that  so  charmed  our  ancestors  ?^Could  we  not, by  fol- 
lowing its  trace,  regenerate  our  vocal  art  so  in  decadence  since  the  second 
half  of  our  century?  The  reply  of  the  thoughtful  man  can  be  but  in  the 
negative,  for  precisely  the  cause  of  this  visible  decadence,  that  we  all 
regret,  is  to  insist  upon  educating  singers  under  the  same  false  principles 
professed  at  a  time  when  there  was  not  the  least  knowledge  of  the  mech- 


100 


MUSIC  TEACHERS    NATIONAL  ASSOCIATION. 


anism  of  the  voice.  Besides  this,  the  music  of  our  day,  having  abolished 
the  long  tirades  of  cold  vocalizes  that  pervert  dramatic  truth,  demands 
vocal  power  of  the  singer  and  a  more  energetic  dramatic  accent  than 
may  be  obtained  only  by  the  means  employed  during  the  reign  of 
gorgheggi. 

To  elevate  vocal  art  to  the  same  standard  of  modern  lyric  drama,  it 
is  necessary  for  us  to  have  recourse  to  other  formulas,  to  more  solid  prin- 
ciples, to  other  processea  that,  based  on  the  laws  of  the  natural  mechan- 
ism of  phonation,  will  develop  and  perfect  the  voice  to  its  highest  degree 
without  compromising  its  freshness.  This  means,  in  a  word,  that  to  ar- 
rive at  something  solid  it  is  necessary  to  make  a  universal  code  of  sing- 
ing, "the  fundamental  basis  of  which  should  be  the  education  of  the  voice; 
a  matter  as  unknown  to  modern  professors  as  to  the  the  poor  masters  of 
the  school  of  eunuchs  in  which  Porpora  and  Tosi  are  the  worthy  repre- 
sentatives. 

At  an  epoch  when  the  immense  talents  of  Pasta,  Malibran,  Persiani, 
Fodor,  Grisi,  Rubini,  Tachinardi,  Donzelli,  Yeluti,  Crescentini,  Lablache 
and  many  others  shone  on  the  operatic  stage,  Rossini  said  that  in  Italy 
there  did  not  exist  either  singers  or  schools  of  singing.  He,  who  received 
instruction  in  the  art  of  singing  from  Babini,  one  of  the  most  renowned 
singers  of  the  ancient  Italian  school,  ought  to  have  been  able  to  speak 
understandingly.  He  was  criticised,  treated  as  a  heretic,  excommunica- 
ted by  the  dilettanti  ;  but  in  reality  he  spoke  a  great  truth,  unknown  ta 
the  panegyrists  of  the  ancient  method,  who  do  not  take  the  trouble  to 
study  the  cause  they  defend. 

Echoing  the  assertion  of  Rossini,  I  maintain  that  from  the  time  sing- 
ing began  to  be  an  art  in  Italy  down  to  the  present  time,  there  has  never 
existed  a  true  method  of  vocal  education  nor  singers  who  (with  rare  ex- 
ceptions) have  used  their  voices  according  to  the  laws  of  nature — that 
sublime  and  unique  master  who  never  makes  a  mistake.  The  celebrated 
singers  of  all  time  owed  their  reputations  and  success  to  the  special  tal- 
ents received  from  nature,  and  not  to  the  method  by  which  they  were  ed- 
ucated. This  is  proved  by  the  fact  that  celebrities  such  as  Rubini,  Mali- 
bran,  Mario,  Duprez,  Giorgio,  Ronconi,  Alboni,  Nilsson,  Patti  and  many 
others  of  our  day  would  form  an  interminable  list,  have  shown  great  de- 
fects of  education  which  caused  the  premature  ruin  of  their  voices,  or 
which  continued  all  their  lives,  although  they  were  easy  to  correct  when 
one  knew  the  causes  which  produced  them. 

Perhaps  my  positive  mind  does  not  permit  me  to  see  in  all  this  an. 
cient  vocal  world  a  single  principle  that  can  serve  as  a  fundamental  basis 
for  the  constitution  of  a  true  and  complete  method  of  vocal  .education, 
"but  the  more  I  push  my  investigations  into  the  past,  the  less  I  find  that 
it  is  solid  enough  to  save  vocal  art  from  the  sad  future  with  which  it  is 
menaced. 

Discouraged  to  find  nothing  profitable,  I  knocked  at  the  door  of 
science,  and  in  entering  its  temple,  lighted  by  the  torch  of  progress,  I  was 
able  to  interrogate  nature,  who  permitted  me  to  penetrate  the  ground  of 


PROGRESS  OF  VOCAL  ART  AND  ITS  FUTT7RE  PROSPECTS.  101 

Tocal  art.  When  once  there,  I  turned  my  head  for  the  second  time  back- 
ward, and  then  saw  clearer  than  ever  the  poverty  of  the  principles  of 
vocal  education  in  the  golden  age  of  singing,  What  ignorance  did  the 
masters  of  that  time  show  us  when  we  think  that  they  were  firmly  con- 
vinced that  in  order  to  develop  the  voice  of  man  it  was  necesiary  to  be- 
gin by  depriving  him  of  his  sex  !  And  if,  after  that,  we  think  that  it 
was  necessary  for  the  pupils  to  study  for  eight  hours  per  day  for  from 
twelve  to  fifteen  years  to  accomplish  what  to-day  they  would  be  able  to 
do  in  from  two  to  four  years,  how  can  we  believe  that  their  master  knew 
the  least  thing  about  vocal  mechanism,  and  of  the  principles  which  facil- 
itate education  ? 

If  I  insist  on  this  matter  it  is  because  there  still  exist  professors  who 
insist  upon  using  words  void  of  sense  to  convince  us  of  the  excellencies 
of  a  method  that  in  reality  never  existed.  These  are  merely  visionary 
sheep  of  Pa'nurge,  trained  by  the  current  of  routine.  Chronicles  tell  us 
of  some  dozens  of  virtuosi  who  astonished  the  dilettanti  of  their  epoch 
with  their  prodigious  vocalization  ;  but  who  tell  us  of  the  hundreds  of 
poor  beings  who  have  perished  under  the  rigors  of  these  barbarous  pro- 
cesses called  methods? 

Under  the  name  of  method  of  singing  are  wrongly  confounded  two 
things  that  are  different,  although  intimately  connected,  and  of  which 
one  is  dependent  on  the  other.  These  are  the  education  of  the  voice 
and  the  art  of  singing.  Education  develops  and  perfects  the  voice,  that 
precious  gift  accorded  by  nature  to  man,  teaching  him,  at  the  same 
time,  to  produce  it  in  the  easiest  and  most  effective  way,  which  is  the 
one  in  accord  with  the  natural  laws  of  phonation.  Singing  is  benefited 
by  education,  and  its  benefits  are  appropriated  according  to  the  rules 
and  principles  of  good  taste  —  which  constitute  the  art  of  singing  —  in 
order  to  obtain  the  desired  end.  This  important  distinction  made,  I 
readily  admit  that  the  art  of  singing  in  Italy,  even  before  the  time  of 
the  virtuosi  mentioned,  had  arrived  at  the  highest  degree  of  refinement ; 
but  I  shall  always  deny  that  these  celebrated  and  much  admired  masters 
understood  the  least  principle  of  the  art  of  well-educating  the  voice,  as 
is  proven  by  examining  the  books  of  methods  and  traditions  which  have 
descended  to  us. 

Leave,  then,  to  the  dreamy  teachers  the  pleasure  of  going  into 
ecstasy  over  the  fantasies  of  musical  literature  which  defy  the  eccen- 
tricities of  the  eunuchs  of  the  eighteenth  century,  and  let  us  seek  on  solid 
ground  the  foundations  of  a  true  method  that  can  respond  to  the  exigen- 
cies of  the  vocal  music  of  the  present  and  future.  In  this  way  the  mouth 
of  charlatanism  that  infests  art  will  be  closed,  and  vocal  teaching,  nor- 
malized in  the  entire  world,  will  have  ceased  to  be  a  fraud.  Then  the  art 
of  singing  will  flourish  powerfully  and  vigorously  in  America,  and  the 
creation  of  our  national  lyric  theatre,  which  is  the  golden  dream  of  our 
young  composers,  will  be  an  accomplished  fact. 

It  if  to  this  that  we  should  direct  all  our  efforts,  and  I  do  not  doubt 
that  we  shall  succeed  in  a  very  short  time  if  you  are  all  animated,  as  I 


102 


MUSIC  teachers'  national  association. 


am,  toward  benefiting  vocal  art  in  America.  "Give  me  a  lever  and  ful- 
crum/' said  Archimedes,  "  and  I  will  raise  the  earth."  Since  we  are  the 
lever,  the  fulcrum  and  the  motive  power,  what  is  to  prevent  our  stirring 
up  the  vocal  world  by  galvanizing  on  this  new  continent  the  divin^,art 
that  is  dying  in  the  old  world. 

I  have  a  presentiment  that  America  is  the  country  destined  to  take 
the  first  step  in  this  sense,  and  do  you  know  why?  Beca\ase  in  America 
everything  is  to  be  done,  and  one  can  do  everything,  while  in  Europe 
everything  is  to  be  done,  in  this  sense,  and  one  can  do  nothing  on 
account  of  the  conservative  spirit  and  inveterate  routine. 

In  Italy  the  art  of  singing  disappeared  as  time  took  away  our  good 
singers.  In  France,  the  head  of  civilization,  where  all  arts  progress,  the 
art  of  singing  and  vocal  education  are  still  as  they  were  at  the  time  of 
LuUi  with  his  murderous  methods.  In  Germany  there  exists  neither 
method,  masters,  singers  or  singing  which  can  accord  with  anything  bu* 
German  taste.  In  Spain,  where  the  great  musical  art  progresses  rapidly, 
only  a  small  number  of  privileged  natures  adopt  as  a  profession  the  art 
of  singing,  following  in  the  footsteps  of  Italy.  Russia  also  makes  great 
progress  in  music,  but  in  vocal  art  she  stands  between  France  and  Ger- 
many. 

England  enters  as  nothing  in  this  affair,  for  the  word  England  sig- 
nifies an  absolute  negation  of  vocal  art.  However,  it  was  in  England 
that  an  eminent  Spaniard  propounded  for  the  first  time  an  acceptable 
theory  on  the  voice.  This  Spaniard  (Manuel  Garcia,  the  illustrious 
master,  whom  I  should  like  to  see  among  us)  opened  a  great  way  for 
investigation  with  his  observations  and  his  invention  of  the  laryngo- 
scope. It  is  by  this  way  that  we  shall  be  able  to  establish  the  basis  of 
the  normal  and  universal  method  of  vocal  education,  which  will  recon- 
cile the  art  of  singing  and  the  modern  lyric-dramatic  school.  This  event, 
I  hope,  will  be  accomplished  by  the  first  vocal  congress  that  will  have 
taken  place  in  the  world  at  tfie  celebration  of  the  four  hundredth  anni- 
Tersary  of  the  discovery  of  America.  This  congress  will  be  due  to  the 
initiative  of  your  humble  colleague. 


ELEMENTARY  MUSICAL  EDUCATION. 


BY  W.  F.  HEATH,  OF  FORT  WAYNE,  IND. 

Mr.  President  and  Fellow-  Teachers : 

It  takes  years  for  any  new  idea  to  become  known  and  established  as 
a  fact.  In  this  country  during  the  last  fifteen  years  the  comparatively 
new  idea  of  elementary  musical  instruction  in  public  schools  has  made 
such  wonderful  progress  toward  becoming  an  establsshed  fact,  that  ita 
discussion  seems  necessary  only  in  regard  to  the  following  points  : 

Why  should  it  be  taught  ? 

How  shall  it  be  taught  ? 

Who  shall  teach  it  ? 

By  what  authority  shall  it  be  taught  ? 

That  music  should  be  taught  in  our  public  schools  is  no  longer  ques- 
tioned by  those  who  have  given  the  subject  careful  thought;  the  reasons 
why  it  should  be  taught  should  be  better  understood.  One  of  the  reasons 
first  suggested  is  the  general  love  of  music,  and  at  present  to  the  general 
public  this  is  the  strongest.  Second,  we  may  notice  the  amusement  and 
pleasure  derived  by  the  children  from  this  study;  and,  third,  its  moral 
and  refining  influences.  These  reasons  are  all  valid  ;  but,  to  my  mind, 
there  are  many  other  and  greater.  When  rightly  taught,  music  calls  into 
action  almost  every  faculty  of  the  child's  mind,  and  many  other  faculties 
it  develops  as  no  other  study  does,  because  it  calls  into  action  collect- 
ively many  powers  that  other  studies  exercise  only  singly.  It  often 
brings  into  play  at  once  the  child's  faculty  for  and  knowledge  of  tone- 
pitch  and  language,  in  applying  certain  tone-pitches  to  given  words  ; 
and  it  develops  the  ideas  of  number  and  measurement  with  the  relative 
lengths  of  tones.  To  these  must  be  added  the  exercise  of  the  thinking 
powers,  of  visual  perception  and  of  auditory  perception,  in  the  triple  act 
of  producing  the  word,  the  applied  pitch  and  the  proper  length  of  tone 
to  the  given  word. 

In  learning  both  language  and  mathematics  the  child  is  aided  in  its 
beginnings  by  the  visible  objective,  and  is  easily  led  to  recognize  the 
visible  representative,  the  written  sign  ;  but  in  music  the  child  must  deal 
wholly  with  the  invisible  objective,  and  be  led  from  this  to  the  visible 
sign.  In  language  and  mathematics  the  thought  perception  depends 
upon  \jDhat.  In  neither  study  does  correctness  contain  the  element  of 
time;  but  in  music  exactness  depends  upon  what  and  xolien.  Emotional 
expression,  whether  in  music  or  in  language,  depends  upon  variati^s, 
in  force  from  loud  to  soft,  in  rhythm  from  slow  to  fast,  and  in  quality 
of  tone — variations  which  in  instrumental  music  apply  only  to  tones,  and 


104 


MUSIC  teachers'  kationax  association. 


in  vocal  music  to  both  tones  and  words.  In  the  latter  case,  to  be  effect- 
ive the  emotional  expression  of  the  music  must  be  in  full  sympathy  with 
that  of  the  language.  To  find  that  this  emotional  union  of  words  and 
music  is  often  grossly  violated,  one  need  only  to  listen  to  the  great 
majority  of  singers.  It  is  strange  but  true,  that  children  preserve  this 
emotional  union  of  language  and  music  to  a  far  greater  extent  than 
adults,  at  least  so  far  as  enunciation  goes.  The  teacher  who  can  not 
gain  and  hold  the  attention  of  her  school  is  a  failure.  A  public  speaker 
must  be  able  to  attract  and  hold  the  attention  of  his  audience,  either  by 
hisj  thoughts  or  by  his  oratory,  or  (in  other  words)  by  his  emotional 
expression ;  if  not,  his  effort  is  a  failure.  In  vocal  or  instru- 
mental music,  in  painting  or  sculpture,  the  successful  artist  must  attract 
the  attention.  Failure  to  do  this  is  not  always  the  fault  of  the  teacher, 
orator,  musician  or  artist,  but  often  is  the  fault  of  the  listener  or 
observer  whose  faculty  of  attention  has  never  been  cultivated.  The 
Good  Book  says,  "Having  eyes,  see  ye  not  ?  and  having  ears,  hear  ye 
not  V  Fortunate,  indeed,  is  the  man  who  can  see  and  hear,  and  twice 
fortunate  he  who  can  appreciate  what  he  sees  and  hears.  But  the  key 
that  unlocks  the  door  to  his  understanding  is  the  faculty  of  attention. 
One  learns  through  the  sense  of  hearing  as  well  as  through  the  sense  of 
sight,  and  it  is  as  important  that  his  power  of  attention  should  be  devel- 
oped in  connection  with  the  sense  of  hearing  as  with  the  sense  of  leeing. 
It  seems  to  me  that  no  one  will  attempt  to  deny  the  power  of  sound  to 
attract  the  attention.  And  there  can  be  no  greater  stimulus  to  intel- 
lectual growth  than  the  food  for  thought  obtained  through  the  sense  of 
hearing,  in  the  many  branches  of  knowlege  with  which  music  is  inti- 
mately connected — music,  which  of  itself  occupies  no  second  place  in  its 
power  to  make  the  citizen  intellectual,  cultured  and  refined. 

It  must  not  be  supposed  that  the  power  to  remember  a  given  melody 
or  combination  of  musical  sounds  is  all  the  exercise  of  the  power  of 
memory,  afforded  by  the  study  of  music.  Such  a  supposition  could  exist 
only  in  the  mind  of  one  who,  although  possessing  a  great  love  of  melody 
and  power  to  recall  or  even  to  reproduce  it,  is  yet  ignorant  of  all  the 
facts  bearing  on  the  legitimate  study  of  music.  Musical  facts  must  b© 
observed  and  musical  principles  mastered,  as  are  those  of  mathematics 
or  any  other  study,  before  the  mind  can  exert  its  powers  in  arranging 
and  using  the  facts  it  has  known  and  remembered.  I  would  not  be 
understood  as  depreciating  the  power  to  remember  melody  ;  but  the  cul- 
tivation of  musical  memory  merely,  without  the  principles  of  music,  is 
not  musical  education  in  the  true  sense.  It  brings  into  action  only  one 
mental  faculty,  the  memory;  while  the  thorough  study  of  music  in  all 
its  details  exercises  the  other  faculties  together  with  the  memory,  as  well 
as  almost  any  of  the  other  studies  do  this.  That  study  is  valuable  which 
wil^  discipline  the  mind  in  all  directions. 

He  is  fortunate  who  possesses  the  faculty  of  judging  correctly  of 
what  he  sees  and  hears.  It  has  often  seemed  to  me  that  in  the  training 
of  the  young  this  faculty  is  frequently  sadly  neglected,  not  only  as 


ELEMENTARY  MUSICAL  EDUCATION. 


105 


regardt  the  power  to  judge  of  music  and  musical  performances,  but  of 
things  in  general.  When,  as  I  often  do,  I  hear  people  say,  "I  do  not 
know  one  note  from  another,  but  I  know  when  I  hear  good  music  and 
when  it  is  correctlj  rendered,"  I  feel  that  their  judgment  is  at  fault  and 
needs  developing.  It  seems  tome  that  in  nothing  save  music  are  some 
people  so  quick  to  pass  judgment,  while  often,  at  the  same  time,  admit- 
ting their  ignorance  of  it.  The  training  during  school-life  which  enables 
a  child  to  judge  of  the  correctness  of  a  musical  performance,  is  of 
undoubted  value  in  the  exercise  of  his  judgment  upon  things  in  general. 

On  the  subject  of  methods  much  has  been  said,  and  much  remains 
to  be  said  before  we  shall  reach  the  best  in  all  particulars.  It  would  be 
a  grand  thing  if  all  could  agree  upon  the  fundamental  principles,  leav- 
ing the  details  to  the  ingenuity  and  individuality  of  the  teacher.  The 
things  we  should  agree  upon  are  methods  for  tone-pitching  and  their 
relations  (or  intervals),  tone-lengths  and  the  corresponding  lengths  of 
silence,  notation  and  last,  but  by  no  means  least,  terminology. 

There  are  three  distinct  methods  for  teaching  tone-pitch.  The  oldest 
of  these,  still  thought  by  some  to  be  the  best,  is  the  method  founded  on 
rote  singing.  The  first  year  (or  five-year-old)  children  are  taught  to 
sing,  purely  by  rote,  a  few  simple  songs.  The  second  year  (or  six-year- 
old)  children,  in  addition  to  the  rote  songs,  are  taught  by  imitation  a 
few  short  songs  beginning  with  a  simple  phrase,  as  :  [Teacher  sings] 


Two  or  three  such  little,  short  phrases  are  taught,  which  are  followed 
by  equally  short  phrases  introducing  one  and  two  of  the  scale,  as: 


which  the  children  learn  to  repeat.  By  degress,  during  the  second  and 
third  years,  all  of  the  scale  tones  are  introduced  and  the  phrases  extended. 
There  have  been,  of  course,  some  modifications  of  this  method  intro- 
duced, but  the  rote  principle  still  remains.  It  is  supposed  that  the  child- 
ren, in  this  learning  by  rote,  not  being  called  upon  to  exercise  any  other 
mental  power,  save  the  power  to  imitate,  will,  by  degrees,  absorb  the 
idea  of  reading  music. 

Children  are  sent  to  school  to  gain  a  definite  knowledge  of  facts, 
and  the  power  to  make  individual  use  of  them.  I  am  not  forgetful  of  the 
often-repeated  statement  that,  as  children  must  learn  to  talk  before  they 
can  le^n  to  read,  they,  likewise,  must  learn  to  sing  before  they  can  learn 


Come 
1 
G 


a  -  way. 
1  1 
G  G 


Teacher  sings, 


Chil  -  dren  play. 


106 


MUSIC  teachers'  national  association. 


to  read  music.  This  is  a  statement  no  one  will  attempt  to  deny.  The 
only  question  involved  is,  "How  shall  the  child  begin  to  sing  ?"  I  say 
he  should  learn  to  sing  as  he  learned  to  talk,  which  was  by  learning 
words  individually  as  the  names  of  objects  or  actions,  and  not  by  a  col- 
lection of  words — that  is  to  say,  a  sentence.  If  the  acknowledged  prin- 
ciple, "One  thing  at  a  time,"  is  to  be  followed,  it  should  be  one  word  and 
one  tone,  and  not  a  whole  sentence  or  song.  A  sentence  is  a  collection 
of  words  expressing  a  complete  thought.  How  can  the  cliild  comprehend 
the  complete  thought  expressed  by  the  sentence  without  first  knowing 
the  words  that  make  the  sentence?  Or,  is  the  child  supposed  first  to  learn 
the  sentence  by  rote;  or,  in  other  words,  by  sound,  without  any  knowl- 
edge of  the  words,  which  knowledge  is  afterwards  to  be  revealed  to 
him  ?  There  has  been  a  great  deal  of  discussion  on  the  value  of  the  sen- 
tence method  of  teaching  reading,  and  the  results  have  not  been  uniformly 
satisfactory.  It  must  be  remembered  that  there  is  a  vast  difference  be- 
tween language-reading  and  music-reading.  What  would  be  the  result  of 
the  sentence  method  if  the  child  had  not  previously  acquired  at  least  a 
small  vocabulary  of  words  ?  You  know,  and  I  know,  that  every  child, 
before  he  is  sent  to  school  to  learn  to  read,  has  acqured  a  small 
vocabulary  of  words.  Where  and  how  did  he  get  these  words  ?  One 
at  a  time.  And  there  were  first  object  words,  later  action  words, 
afterwards  followed  by  sentences.  Think  of  the  mother,  at  the  first  dawn- 
ing of  the  power  of  imitation  in  her  babe,  trying  to  teach  it  Tennyson's 
beautiful  "  Sweet  and  low,"  because  she  believed  in  beginning  with  sen- 
tences, an4  proceeding  from  sentences  to  words  ;  and  all  this  in  the  hope 
of  making  her  child  either  a  poet  or  a  lover  of  good  poetry.  It  is  true  that 
the  child  begins  music  at  a  vastly  different  stage  of  mental  development 
from  that  at  which  he  begins  to  talk.  This,  however,  does  not  reverse 
the  processes  of  natural  development.  As  the  child  must,  and  does  to 
some  extent,  learn  words  before  sentences,  it  should  learn  tones  before 
musical  sentences;  for  the  practical  primary  units  of  language  are  words, 
and  the  primary  units  of  music  are  tones. 

The  second  method  of  teacing  tone-pitch  deals  with  tones  objectively, 
or  first  without  melodic  relations,  beginning  with  one  of  the  scale,  and  in- 
troducing the  tones  in  their  scale  order,  afterwards  their  relations.  This 
system  was  developed  from  the  principles  of  Pestalozzi,  and  was  the  first 
system  introducted  into  the  public  schools  of  this  country  by  that  revered 
teacher,  Dr.  Lowell  Mason.  Whatever  else  may  be  said,  it  remains  a  fact 
that  the  work  and  principles  of  this  great  teacher  left  their  impress  on 
the  cause  of  music  in  this  country. 

The  third  method  of  teaching  the  tone-pitch  is  based  upon  the  tonic 
triad  principle  of  beginning  with  the  tonic,  following  with  the  fifth,  third 
octave,  etc.  I  believe  this  to  be  the  best  method,  for  it  individualizes  the 
scale-tones,  and  at  the  very  outset  takes  up  the  more  difficult  principle  of 
tone-relation.  A  good  knowledge  of  the  scale-tones  and  intervals  is  the 
only  sure  foundation  for  good  music-reading  and,  I  will  add,  for  true 
musical  appreciation .   We  should  seek  to  develop  a  true  love  of  melody. 


ELEMENTARY  MUSICAL  EDUCATION. 


107 


but  we  should  not  forget  that  our  modern  music  demands  a  love  of  har- 
mony as  well.  Much  of  the  beauty  of  our  modern  music  lies  as  much  in 
its  kaleidoscopic  changes  of  harmonic  color  as  in  its  melodic  form.  The 
old  farmer  in  the  Mascot  says,  "  I've  got  a  mascot.  I  don't  know  what 
it  is,  but  I've  got  one."  The  everage  listener  of  music,  to-day,  can  say, 
"  I  hear  a  melody.  I  don't  know  what  it  is,  but  I  hear  one."  It  is  an  art 
to  be  a  good  listener,  and  am  I  not  safe  in  saying  that  he  who  listens  en- 
joys most  what  he  understands  best?  And  is  not  he  the  best  able  to 
listen  who  has  learned  to  listen  to  a  chord  in  its  parts  as  well  as  to  its 
whole?  What  is  needed  is  intelligent  judgment  of  music  and  mugical 
performances,  which  must  be  based  on  correct  musical  education.  With- 
out doubt,  this  should  be  begun  during  the  school  years  of  youth,  as 
society  is  an  available  proof  that  it  cannot  be  done  in  later  years  with 
the  masses. 

The  oldest  method  for  the  measurement  of  tone-lengths  in  vocal  mu- 
sic is  the  use  of  the  motions  of  the  hand.  The  second  is  the  use  of  a 
system  of  syllables,  used  as  the  names  of  the  various  tone-lengths.  The 
third  dispenses  with  hand-motions  and  time-names,  and  aims  to  develop 
a  sense  of  tone-length  and  accentuation  by  the  establishment  of  a  clear 
conception  a  unit  length;  and  proceeding  from  this  to  the  correct 
conception  of  the  combining  of  two  or  more  units,  or  the  division  of  the 
unit  into  fractional  parts.  This  it  does  by  directing  the  mind  directly  to 
the  tones  instead  of  to  the  physical  device  for  measurement,  or  the  use 
of  syllables  by  the  rythmical  flow  of  which  a  sense  of  tone-length  is  sup- 
posed to  be  developed.  To  discuss  these  methods  as  I  would  like  would 
take  me  far  beyond  the  time  allowed  for  this  paper. 

The  subject  of  terminology  is  of  great  importance.  There  is  not 
any  well-defined  method,  and  there  is  a  wonderful  diversity  in  the  phrase- 
ology used  to  express  musical  facts.  My  plan  is  to  use  the  English  words 
that  most  clearly  express  the  fact.  I  would  not  teach  that  "a  sharp  raises 
a  note  a  half-tone,"  because,  according  to  the  common  meaning  of  the 
words  in  this  definition,  it  states  what  is  absolutely  impossible. 

Concerning  the  question,  "Who  shall  give  instruction  in  music  in 
our  public  schools?"  there  can  be  but  one  answer.  It  should  be  given  by 
the  regular  teacher,  under  the  supervision  and  example  of  a  thoroughly- 
trained  specialist.  The  latter  not  only  should  be  a  musician,  but  should 
be  thoroughly  familiar  with  all  the  best  methods  ;  in  fact,  he  must  be  a 
teacher  in  all  that  the  word  implies. 

By  the  influence  of  this  great  Association,  of  our  State  Associations, 
and  of  the  American  College  of  Musicians,  and  by  every  other  influence 
that  can  be  brought  to  bear,  there  should  be  created  a  public  sentiment 
that  would  induce  the  State  to  assume  the  authority.  Music  should  be- 
come one  of  the  studies  required  by  law,  and  for  the  same  reason  that 
other  studies  are  required.  If  the  public  schools  are  to  be  America's 
standing  army,  nothing  that  tends  to  make  a  strong,  true  and  happy  citi- 
zen should  be  omitted  from  the  school  curriculum. 


THE  TONIC  SOL-FA  NOTATION  AS  AN  EXPRES- 
SION OF  THE  PSYCHOLOGY  OF  MUSIC. 


BY  THEODOKE  F.  SEWARD,  OF  NEW  YORK. 

Within  a  quarter  of 'a  century  the  methods  of  education  have  been 
revolutionized.  Psychology,  which  was  formerly  regarded  as  an  ab- 
stract, metaphysical  science,  is  now  recognized  as  the  basis  of  all  true- 
educational  methods.  Music  must  therefore  be  treated  in  accordance 
with  psychological  principles  or  it  will  fail  to  take  its  place  among  the 
great  edifying  forces  by  which  the  human  race  is  to  be  built  up  and  pre- 
pared for  its  immortal  destiny. 

What  is  the  psychology  of  music  ?  Clearly,  it  is  the  relation  which 
the  art  holds  to  man's  innermost  being,  his  soul.  Educationally,  that 
system  or  method  is  the  most  psychological  which  places  the  subject  be- 
fore the  mind  of  the  bearer  in  the  most  orderly  and  logical  relation  of 
one  fact  or  principle  to  all  other  facts  and  principles,  and  does  this  in 
such  a  way  as  to  leave  a  permaneat  impression.  No  person  can  be 
counted  truly  musical  who  has  not  the  world  of  music  so  established  in 
his  mind  that  he  can  call  forth  the  tones  from  his  inner  consciousness  as 
certainly  and  definitely  as  he  can  produce  a  tone  from  a  piano-forte  or 
organ  by  touching  a  key. 

But  the  soul  is  not  a  piece  of  mechanism.  It  is  a  will.  It  is  an  es- 
sential being  endowed  with  the  faculty  of  self-consciousness  and  the 
power  of  self-control.  The  process  by  which  tones  are  recalled  or  re- 
produced must  therefore  differ  radically  from  the  method  by  which  they 
are  produced  from  a  mechanical  instrument.  They  must  be  created  hj  that 
most  marvelous  of  all  instruments,  the  human  voice.  As  produced  by 
that  instrument,  all  the  scales  are  natural  scales.  No  flats  or  sharps  are 
to  be  found  in  the  vocal  chords,  for  the  simple  reason  that  they  are  not 
needed.  Not  only  all  scales  are  equally  natural,  but  all  tones  are  equally 
natural.  The  intermediate  or  chromatic  tones  have  as  legitimate  a  place 
in  the  tone-world  as  the  first,  third  and  fifth  of  the  scale.  In  their  proper 
relation  they  are  just  as  simple  and  easily  comprehended  by  the 
learner. 

A  psychological  method  of  teaching  music  must  have  a  psycholog- 
ical notation;  that  is  to  say,  a  notation  which  expresses  music  from  its 
natural  side.  Has  music  one  scale  or  alphabet  of  tones,  or  many  ?  All 
musicians  agree  that  there  is  but  one.  Yet  most  teachers  in  this  country 
still  employ  a  notation  which  forces  the  learner  to  study  the  one  scale 
as  many.  This  is  sheer  conservatism.  It  is  a  reflection  of  the  time 
when|spectacles  were  regarded  as  blasphemous.  People  then  argued  that 


THE  PSYCHOLOGY  OF  MUSIC. 


109 


God  must  know  whom  He  wanted  to  be  near-sighted  or  far-sighted,  and 
man  had  no  right  to  interpose  his  puny  inventions  and  thui  interfere 
with  the  Creator's  plans. 

Whence  comes  the  soul  of  music  ?  Can  it  be  derived  or  perceived  by- 
listening  to  tones  as  individuals  ?  We  know  that  it  cannot.  The  tones  must 
be  brought  into  the  key-relationship  which  is  technically  known  as  tonal- 
ity. In  that  relation  tones  become  endowed  with  a  living  personality. 
The  soul  of  music  grows  out  of  that  individuality  or  tone  character.  It 
is  because  Handel  appreciated  the  soul  of  music  that  in  writing  a  melody 
to  the  words,  "I  know  that  my  Redeemer  liveth,"  he  expressed  the 
strength  of  confidence  and  trust  by  placing  the  word  "know"  on  the  fun- 
damental tone  of  the  scale  Boli  which  has  pre-eminently  the  quality  of 
firmness  and  strength.  It  is  because  Mendelssohn  appreciated  the  soul 
of  music  that  in  writing  the  words,  "Oh!  rest  in  the  Lord,"  he  expressed 
the  spirit  of  restfulness  by  placing  the  word  "rest"  upon  the  quiet  and 
tranquil  third  or  Me. 

This  side  of  my  topic  cannot  be  enlarged  upon,  although  it  contains 
in  itself  material  enough  for  a  long  essay.  1  am  to  speak  of  the  Tonic 
Sol-fa  notation  as  related  to  this  soul  of  music. 

The  truth  can  be  stated  in  a  sentence.  The  Tonic  Sol-fa  notation  is 
an  expression  of  the  sound  of  music.  If  the  tones  are  individuals  they 
must  have  names  by  which  they  can  be  spoken  of  and  otherwise  treated 
as  individuals.  If  they  are  to  be  represent  by  symbols,  the  symbols  must 
be  direct  and  unmistakable  and  present  the  one  vital  fact  of  the  individ- 
uality which  grows  out  of  scale  relationship.  Any  thing  more  than  this 
will  only  confuse  the  learner  and  interfere  with  his  intelligence.  The 
Tonic  Sol-fa  notation  has  been  criticised  for  being  only  a  partial  expres- 
sion of  music,  the  absolute  or  independent  element  of  pitch  being  omitted- 
But  herein  is  its  chief  glory.  It  is  this  characteristic  which  gives  the  no- 
tation its  transforming  power  in  musical  education  of  the  masses.  What 
is  the  vital  and  essential  fact — the  character  giving  fact — which  creates 
the  art  of  music  and  endowes  it  with  a  soul  ?  Is  it  the  particular  shade 
of  elevation  or  depression  of  pitch  at  which  a  melody  is  sung  ?  No,  it  is 
the  melody  itself,  the  combination  of  tone-characters  which  in  one  case 
gives  tone  to  the  worship  of  a  congregation  by  a  tune  like  the  Old  Hun- 
dred, or  in  another  sways  the  hearts  of  mankind  with  such  a  simple  lyric 
as  Anna  Laurie.  Sing  either  of  those  melodies  a  half  step  higher  or 
lower  makes  no  change  in  its  essential  quality.  Yet  the  spirit  of  conserv- 
atism leads  many  American  teachers  to  retain  a  method  which  gives 
special  prominence  to  a  secondary  and  incidental  fact  in  the  art — viz:  the 
independent  or  individual  pitches  of  the  tones.  It  is  a  mediaeval  method 
which  the  world  has  outgrown,  and  yet  many  of  the  American  teachers 
still  cling  to  it.   Where  is  our  boasted  spirit  of  progress  ? 

A  method  of  teaching  music  which  claims  to  be  psychological  must 
have  two  characteristics;jlst,  It  must  follow  the  line  of  growth;  2nd,  It 
must  have  a  simple  and  direct  method  of  expressing  or  representing  the 
musical  facts,  that  is  to  say,  the  tones,  out  of  which  the  art  is  to  be  built 


110 


MUSIC  .teachers'  national  association. 


up,  so  to  speak,  in  the  mind  of  the  learner.  These  elements  are  so  fully 
embodied  in  the  Tonic  Sol-fa  system  that  no  one  who  thoroughly  under- 
stands it  will  fail  to  recognize  it  as  a  truly  psychological  method.  The 
teacher  leads  his  pupils  in  a  process  of  investigation.  He  first  gives  them  a 
tone  at  any  convenient  pitch.  He  then  leads  them  to  recognize  and  produce 
the  tone  which  is  most  nearly  related  to  the  first  tone,  both  scientifically 
and  harmonically,  viz:  the  fifth.  Having  two  objectSjthej' must.of  course, 
be  named  so  that  they  can  be  spoken  of  and  otherwise  treated  as  individ- 
uals. What  names  for  these  tones  shall  be  given  to  the  pupils  as  the 
most  simple,  natural  and  of  the  greatest  value  in  future  study  ?  We 
might  call  them  one  andjire,  but  there  are  four  vital  objection  to  the  plan. 
Ist,  The  numerals  are  not  suitable  for  vocal  purposes;  2nd,  If  harmony 
is  to  be  studied  afterwards  the  numerals  are  confusing.  The  funda- 
mental tone  of  any  chord  is  treated  as  the  first;  3rd,  The  octave  must 
have  two  names,  eight  a,VLd.  one;  4th,  The  names  cannot  be  modified  to  ex- 
press the  chromatic  tones  when  they  are  introduced  at  a  later  period. 
Fortunately  a  set  of  names  stands  ready  for  our  use  which  satisfies  every 
requirement.  The  Guidoniain  syllables  are  euphonious  and  (by  substitu- 
ting a  lingual  letter  for  harsh  sibilant  of  the  seventh  syllable)  are  admir- 
ably adopted  for  practice  in  vocalization  and  enunciation.  The  names, 
Doh,  Bay,  Me,  Fah,  Soh,  Lah  and  Te,  are  a  valuable  heritage  from  the 
past.  We  cannot  well  improve  upon  them. 

We  therefore  have  names  for  our  two  tones  the  first  and  fifth  of  the 
scale:  Boh,  and  Soh.  The  next  question  to  consider  is  how  shall  these  be 
so  represented  or  written  as  to  afford  the  most  direct  and  unequivocal 
suggestion  of  the  tones  to  the  mind  of  the  learner  ?  Shall  we  draw  a 
series  of  lines  and  place  a  dot  upon  one  of  them,  telling  our  pupils  that 
the  dot  on  that  line  means  Doh,  and  the  dot  on  the  second  line  above  it 
means  Soh  f  Shall  we  do  this  because  our  grandfathers  did  ?  If  we  do 
this,  that  is,  if  we  continue  to  do  this,  we  shall  prove  that  we  are  not 
worthy  to  stand  in  our  grandfathers  shoes,  for  they  were  wise  enough  to 
adopt  a  better  way  of  doing  things  when  it  was  presented  to  them.  If  we 
make  use  of  lines  and  notes  as  a  method  of  representing  tones  during  the 
process  of  teaching,  we  violate  the  principles  of  psychology,  for  we  intro- 
duce an  indirect  instead  of  a  direct  suggestion  of  the  tones. 

No,  we  will  use  the  syllables,  as  their  great  inventor,  Guido,  did,  but 
we  will  make  a  use  of  them  which  he  only  failed  to  do  because  the  sim- 
ple state  of  the  art,  at  that  period  did  not  require  it.  We  will  use  the 
initials  of  these  syllables  as  our  notation,  and  in  doing  this  we  lay  the 
foundation  of  an  educational  system  that  is  truly  and  purely  psychologi- 
cal, from  the  first  step  to  the  last.  Beginning  with  the  tones  Doh  and 
So?i,  and  sing  them  at  various  pitches,  the  third  of  the  chord.  Me,  is 
presently  added  and  the  Tonic  Chord  stands  complete.  In  the  Tonic 
Chord  we  have  the  very  soul,  the  psychological  center  of  the  tone  world. 
It  is  the  fundamental,  eternal  root  from  which  the  perfect  art  of  music  is 
to  grow,  like  branches  from  a  tree.  The  tones  of  the  Tonic  chord  are 
not  only  the  basis  and  germ  of  all  music;  they  are  also  the  basis  and 


THE  PSYCHOLOGY  OF  MUSIC. 


ni 


germ  of  the  method  by  which  music  should  be  taught.  They  afford  the 
best  elements  for  tuning  the  ear  and  training  the  voice  in  the  first  stages 
of  study  and  practice.  With  simple  rhythmic  forms  an  endless  variety  of 
melodies  can  be  made  which  interest  the  pupils  and  gradually  establish 
in  their  minds  the  fundamental  tones  from  which  all  others  are  to 
spring. 

The  next  step  in  advance  is  the  introduction  and  practice  of  the 
Dominent  Chord,  with  additional  rythmic  forms.  Then  follows  the  Sub- 
Dominant  Chord,  completing  the  scale.  When,  after  suflQcient  practice 
of  the  diatonic  or  plain  scale-tones,  the  chromatic  tones  are  introduced 
with  the  simple  and  unmistakable  signs  of  the  Tonic  Sol-fa  notation,  the 
pupil  experiences  no  more  difficulty  or  discouragement  than  when  he  be- 
gan to  practice  the  tones  of  the  Dominant  Chord  in  addition  to  the 
Tonic.  This  has  been  proved  by  every  class  that  was  ever  taught  the 
system. 

But  now  comes  the  supreme  test  of  the  Tonic  Sol-fa  notation  as  a 
psychological  method.  The  soul  of  music  because  it  is  a  soul,  is  elusive. 
In  the  classical  forms  of  music  the  center  of  tonality  is  perpetually 
changing  its  place.  Does  the  Tonic  Sol-fa  notation  take  cognizance  of 
that  fact  ?  Does  it  aid  the  singer  (who  has  no  mechanical  apparatus  to 
guide  or  help  him)  in  tracing  and  following  the  fugitive  spirit,  the  Tonic, 
as  it  wanders  among  the  keys  at  the  sweet  will  of  the  composer  ?  It  does, 
and  it  is  for  this  one  reason  that  all  who  understand  the  notation  and  its 
educational  meaning,as8ert,with  a  calm  and  8upreme']conviction,that  it  is 
destined  to  reconstruct  the  art  of  music  and  to  completely  change  the  re- 
lation of  the  art  to  the  human  race. 

And  now  let  us  consider  for  a  moment  the  most  unpsychological 
method  of  representing  and  teaching  music — the  staff  notation. 

First  as  to  its  mode  of  representing  or  writing  music.  It  is  unpsy- 
chological because  it  does  not  afford  a  direct  and  unequivocal  suggestion 
of  a  single  fact  in  music.  To  represent  any  one  tone  requires  a  combin- 
ation of  three  distinct  and  seperate  signs,  viz:  the  staff,  a  cleff  and  a  note. 
It  is  unpsychological  because  it  does  not  clearly  reveal  the  soul  of  music 
even  in  its  earlest  and  simplest  forms.  It  gives  seven  different  readings 
to  the  plain  and  innocent  scale,  with  complex  combinations  of  symbols 
which  none  but  an  expert  can  understand.  It  is  especially  and  hope- 
lessly unpsychological  in  the  fact  that  its  obscurities  increase  in  a  geom- 
etrical ratio  as  the  art  ascends.  Not  only  is  the  changing  soul  of  music 
not  revealed  in  difficult  modulations;  it  is  so  effectually  concealed  that 
only  musicians  of  exceptional  scholarship  can  follow  the  elusive  sprite^ 
the  psycho  of  tonality,  through  the  intricate  labyrinth  of  harmonic  sin- 
uosities. Let  me  be  clearly  understood.  The  soul  of  music  is  there,  and 
the  soulful  musician  will  find  and  express  it.  But  he  will  do  it  in  spite 
of  the  concealments  and  complications  of  the  staff  signs  and  not  by  reason 
of  them. 

So  much  for  the  staff  method  of  representing  music.  What  about  the 
method  of  teaching  which  goes  with  it  ?  Observe  its  charming  simplicity 


112  MUSIC  TEACHEKS'  NATIONAL  ASSOCIATION, 

The  whole  scale  is  taught  at  once  with  three  distinct  names  for  each 
tone,  viz:  Syllables,  numerals  .and  letters;  eight  tones  and  twenty-four 
names,  or  to  be  gcrupulously  exact,  let  us  omit  the  duplicates  and  say 
twenty-two.  And  when  the  tones  are  written  the  symbols  are  totally 
separate  and  distinct  from  the  names.  A  note  upon  the  stafl:  has  no  pos- 
sible aesociation  in  the  mind  of  the  beginner  with  either  the  syllables, 
the  numerals  or  the  letters.  Shade  of  Pestalozzi!  What  a  bolus  is  given 
to  the  unfortunate  learner  to  be  swallowed  as  a  hygienic  stimulus  at  the 
very  first  stop  of  his  educational  pilgrimage.  I  am  aware  that  all  staff 
methods  do  not  begin  with  so  large  a  tax  upon  the  pupils'  powers  at  the 
first  lesson,  but  it  is  the  manner  employed  Dy  one  of  the  most  prominent 
systems  of  school  music  which  now  appeals  to  the  American  public  as 
containing  "all  that  is  of  value  in  Tonic  Sol-fa.''  And  even  if  only  a 
part  of  the  scale  is  presented  at  the  first  lesson  is  it  not  following  nature's 
way.  The  chord  and  not  the  scale  is  the  central  and  germinal  truth  of 
music,  from  which  art  unfolds.  Moreover  the  latter  complexities  are  the 
same,  whatever  the  method  of  beginning.  Be  assured  of  this,  fellow 
teachers  in  this  convention  and  elementary  teachers  of  music  throughout 
the  country,  when  you  teach  by  the  staff  notation  you  use  a  method 
which  requires  four  times  the  labor  and  nervous  force  that  are  needed  in 
teaching  Tonic  Sol  fa,  and  you  only  get  one-fourth  the  permanent  educa- 
tional results.  Four  times  four  are  sixteen.  You  may  make  what  you 
choose  out  of  my  mathamatics.  My  statement  is  historical,  and  is  proved 
by  a  comparison  of  results  in  America  and  in  England  wherever  the 
Tonic  Sol-fa  system  has  full  sway.  You  get  results,  I  acknowledge, 
enough  to  mislead  you  with  reference  to  the  value  of  the  method  you 
employ,  but  they  are  temporary,  except  with  the  few  who  are  especially 
musical  or  who  have  grace  to  make  a  special  effort  to  master  the  diflcicul- 
ties  of  the  notation.  Music  has  been  enthusiastically  and  efficiently 
taught  for  many  years  in  some  American  cities.  Where  are  the  congre- 
gations in  those  cities  that  can  sing  classical  anthems  of  the  high- 
est order  as  many  congregations  do  in  England  ?  They  are  not  to  be 
found.  The  demonstrations  which  make  such  a  pleasing  impression  in 
the  schools  somehow  vanish  into  thin  air.  They  do  not  leven.  They  do 
not  render  the  masses  musical.  The  unwieldy  conglomerations  of  sym- 
bolic complexities  known  as  the  staff  notation  has  so  absorbed  the  mind 
with  external  signs  that  the  soul  of  music  has  not  entered  into  the  souls 
of  the  pupils  in  such  a  way  as  to  secure  a  permanent  lodgement 
there. 

But  conservatism  is  not  by  any  means  in  full  possession  of  the  field. 
Teachers  in  all  parts  of  the  country  are  testing  and  using  the  psycholog- 
ical method  and  are  rejoicing  in  its  new  and  surprising  results.  Many 
of  these  teachers  are  perplexed  by  a  question  which  I  will  take  this  op- 
portunity to  answer.  "American  singing  books  are  printed  in  the  staff. 
Pupils  and  their  parents  wish  the  staff  to  be  taught.  At  what  point  shall 
we  pass  from  Tonic  Sol-fa  to  the  staff  notation  ?"  Here  is  the  answer. 
At  no  point  for  the  study  of  music  itself.    It  must  be  remembered  that 


THE  PSYCHOLOGY  OF  MUSIC. 


113 


music  is  a  world;  a  world  which  is  as  truly  composed  of  definite  objects 
as  the  vegetable  or  mineral  world.  Its  entity  is  entirely  distinct  from  any 
of  the  symbols  of  which  it  is  represented.  The  folk-songs  of  primitive 
peoples  are  handed  down  from  generation  to  generation  without  a  writ- 
ten sign.  Various  symbolic  systems  have  been  devised  from  time  to  time. 
One  of  these,  the  staff  system,  is  now  universally  employed  in  civilized 
countries.  But  it  represents  the  artificial  or  instrumental  side  of  the  art, 
and  is  therefore  very  complicated.  After  eight  hundred  years  the  T£)nic 
Sol-fa  notation  is  invented.  It  represents  the  natural  or  vocal  side  of 
music.  It  is  so  simple  that  even  the  unmusical  can  understand  it,  and 
through  its  natural  channels  can  have  their  talented  powers  developed. 
It  is  therefore  the  proper  and  only  philosophical  way  of  studying  music. 
The  staff  is  a  system  of  complex  signs  which  must  be  learned  aside  from 
the  study  of  music.  The  point  of  beginning  to  teach  it  depends  upon 
the  progress  of  the  pupils,  the  length  of  the  course  and  other  considera- 
tions. The  idea  that  there  is  any  point  at  which  the  pupils  are  to  be 
transferred  from  the  Tonic  Sol-fa  to  the  staff  is  a  mistake  and  a  fatal 
one.  Whenever  music  is  to  be  studied,  the  simple  Tonic  Sol-fa  signs 
must  be  employed,  not  only  for  expressing  the  new  musical  elements,  but 
also  ioY  practicing  them.  It  will  thus  be  seen  that  Tonic  Sol-fa  is  not  to 
be  given  up  till  the  entire  subject  is  mastered.  For  instance,  after  the 
scale  is  completed  the  teacher  may  begin  to  accustom  his  pupils  to  sing 
the  tones  from  the  staff  notes  but  to  drop  Tonic  Sol-fa  at  that  point, 
would  be  a  fatal  mistake.  The  chromatic  tones  are  yet  to  be  learned  and 
the  staff  signs  for  those  tones  are  far  more  complicated  than  signs  for  the 
plain  scale  tones.  On  the  contrary,  the  Tonic  Sol-fa  sign  {fe)  for  sharp 
four  is  as  simple  as  the  sign  for  doh.  So  with  all  the  others.  After  the 
chromatic  tones  are  learned,  may  we  not  wisely  renounce  Tonic  Sol-fa 
and  adopt  the  staff  ?  By  no  means.  The  great  principle  of  modulation 
is  yet  to  be  studied,  and  at  this  point  the  staff,  which  has  grown  educa- 
tionally weaker  at  every  stage,  breaks  down  completely.  It  does  not  offer 
helps  but  hinderances  to  the  learner's  intelligence.  The  Tonic  Sol-fa  no- 
tation has  been  important  in  the  previous  steps,  but  it  now  becomes  ab- 
solutely essential.  It  advises  the  singer  of  each  modulation  in  such  a 
way  that  little  children  can  readily  practice  it,  although  they  may  not  un- 
derstand its  philosophy. 

It  will  thus  be  see  that  the  claim  of  staff  teachers  that  they  have 
"adopted  all  that  is  of  value  of  the  Tonic  Sol-fa"  is  utterly  fallacious. 
The  hand-signs,  the  time-names,  the  recognition  of  "mental  effect,"  are 
all  valuable,  and  they  can  be  used  to  advantage  by  the  staff  teacher.  But 
the  educational  power  of  the  Tonic  Sol-fa  system  is  in  its  natural,  philoso- 
phical and  psychological  notation,  and  those  who  think  it  possible  to  ob- 
tain Tonic  Sol-fa  results  from  the  staff  notation  and  staff  books  are  totally 
deceived.  Thousands  of  people  in  America  are  thus  deceived  and  the 
Music  Teachers'  National  Association  could  not  do  a  nobler  or  more  use- 
ful thing  than  to  place  this  matter  before  the  public  in  the  proper 
light. 


114 


MUSIC  teachers'  national  association. 


Fellow  teachers  of  America,  why  will  you  continue  to  persistently 
and  ingeniously  to  argue  yourselves  out  of  this  blessed  educational  inher- 
tance  ?  Nine  years  ago  I  called  your  attention  to  it  at  the  meeting  of  this 
Association  in  the  city  of  Albany.  At  that  time  I  was  described  in  the 
columns  of  a  prominent  musical  journal  of  New  York  as  "the  under  dog 
In  the  fight."  Is  that  my  position  to-day  ?  I  think  not.  Tonic  Sol-fa 
was  then  spoken  of  by  my  opponents  with  contempt.  I  am  certain  that 
there  is  not  a  musician  in  this  convention  who  would  now  speak  contemp- 
tiously  of  the  system.  On  the  contrary,  we  have  so  far  won  our  case  that 
our  antagonists,  in  order  to  maintain  their  ground,  are  obliged  to  borrow 
our  feathers  and  claim  to  be  the  genuine,  original  nightingale,  plumage, 
song  and  all.  Now  will  you  not  put  aside  your  preconceived  ideas  and 
make  a  trial  of  this  great  educational  device  which  carries  a  blessing 
wherever  it  goes;  to  the  teacher,  the  scholar,  the  home,  the  school,  the 
church;  wbich  bestows  music  as  a  free  gift  upon  the  poor,  and  at  the 
same  time  quickens  the  intelligence  and  enlarges  the  musical  horizon  of 
the  rich? 

The  soul  of  music  has  been  hidden  from  the  masses  of  the  people 
through  all  the  centuries  until  now.  A  way  has  been  found  to  throw 
open  the  gates  of  the  temple  of  art  and  to  bestow  its  boundless  treasures 
upon  all  mankind.  Who  will  help  us  in  leading  the  multitudes  to  receive 
and  enjoy  their  precious  heritage? 

DISCUSSION. 

Dr.  Field — Mr.  Chairman,  Ladies  and  Oentlemen :  Inasmuch  as 
some  of  the  subjects  announced  upon  the  program  have  been  changed, 
perhaps  those  who  follow  may  also  be  allowed  to  make  a  modification. 
I  desire  very  much  to  call  your  attention  to  some  physiological  points  in 
regard  to  the  speaking  voice,  and  I  am  requested  to  refer  briefly  to  our 
duty  in  regard  to  the  introduction  of  speaking  and  singing  into  the  schools 
throughout  the  country.  You  are  all  aware  that  people  talk  a  great  deal 
more  than  they  sing  ;  we  are  using  the  speaking  voice  continually,  while 
many  of  us  are  not  singers.  My  observation  from  work  in  a  half  dozen 
cities  indicates  that  a  very  large  percentage — if  I  say  75  per  cent.  I  am 
within  bounds  of  the  truth — of  the  teachers  of  the  American  public  schools 
are  injuring  themselves  by  a  misuse  of  the  speaking  voice,  and  what  I  say 
of  the  teachers  is  equally  true  of  the  clergy.  That  being  the  case,  i^ 
becomes  the  duty  of  those  interested  in  the  cultivation  of  the  voice  not 
only  to  promote  musical  sentiment  in  all  the  institutions  of  our  country, 
but  to  see  what  can  be  done  for  the  better  culture  of  the  speaking  voice. 

It  is  to  be  noted  in  our  Convention  that  many  members  have  been 
unable  to  be  heard.  That  is  unfortunate.  How  can  we  correct  this? 
We  must  reach  the  superintendents,  the  boards  of  education,  the  princi- 
pals and  the  teachers.  In  some  cases  we  can  reach  one  without  securing 
the  attention  of  the  other.  In  other  caees  we  perhaps  procure  the  teach- 
ers first,  and  then  through  them  reach  the  principals  and  the  superin- 


THE  PSYCHOLOGY  OF  MUSIC — DISCUSSION. 


115 


tendents.  I  think  I  have  not  visited  one  city  where  I  have  presented 
my  subject  to  the  superiiitendent,  that  he  has  not  either  said  "we  do  not 
want  it,"  or  he  has  said,  "  it  is  a  good  thing,  but  you  can't  interest  our 
teachers."  I  simply  ask  him  this  question  :  Will  you  give  me  your  teach- 
ers' ears  for  one  hour?  "Well,  yes,  we  can  do  that  much  for  you." 
That  is  all  I  ask.  Sometimes  I  have  to  go  to  the  Boards  of  education 
behind  the  spperintendents  in  order  to  bring  some  power  to  bear  upon 
them  to  secure  a  hearing.  But  the  result  of  the  hearing  is  successful 
work  in  nine  cases  out  of  ten.  These  things  we  have  to  contend  with, 
tind  it  is  our  duty  to  push  in  every  direction. 

The  Normal  School  has  been  referred  to,  and  I  am  told  on  very  good 
authority  that  it  is  the  best  in  the  State,  and  that  prior  to  two  years  last 
past  in  the  State  Normal  School  of  Michigan,  a  teacher  of  oratory  was 
employed  there  who  had  fine  oratory  and  good  facial  expression,  but  he 
ruined  the  voices  of  the  pupils  of  that  institution  and  they  finally  made 
a,  vacancy  and  there  is  a  much  better  man  there  at  the  present  time. 
This  is  equally  true  as  to  the  cultivation  of  the  voice  in  other  parts  of 
the  United  States. 

I  wish  now  to  call  your  attention  to  a  physiological  matter  in  regard 
to  the  voice.  I  turn  to  a  report  of  the  Superintendent  of  Education  of 
this  State  for  the  year  1882,  and  I  find  these  words:  "The  breath  should 
be  from  the  waist;  use  the  diaphragm  as  a  power  to  propel  the  breath 
from  the  lungs  and  into  the  windpipe."  I  turn  now  to  an  article  from 
Mme.  Cappiani :  "It  is  the  diaphragm  also  that  gives  power  to  the  voice 
by  propelling  the  columns  of  air  to  the  vocal  chords,  and  the  greater  the 
quantity  of  air  propelled,  the  stronger  the  voice."  Now,  Mme.  Cappiani 
is  pretty  good  authority,  but  here  I  think  she  has  made  a  mistake,  prob- 
ably in  the  construction  of  her  language. 

But  the  point  is  this:  Muscles  have  but  one  action, — contraction, — 
and  the  muscles  do  not  act  the  same  in  breathing  as  in  speaking.  I  call 
attention  to  this,  because  my  own  attention  has  been  called  to  it  repeat- 
edly, especially  during  the  winter  last  past.  Nobody  can  have  a  good 
voice  without  care  and  without  following  out  the  proper  method  of 
treatment,  otherwise  the  voice  will  be  hollow,  it  will  lack  tone— it  will 
be  what  we  call  sepulchral,  or  a  graveyard  voice.  (Illustrating.)  Here 
is  the  difference  in  the  action :  In  the  normal  grading  the  diaphragm  and 
the  abdominal  muscles  act  alternately  in  the  production  of  the  voice, 
they  act  simultaneously.  The  music  comes  out  of  that  point  (pointing 
to  the  chart).  The  chart  I  hold  before  you  is  one  which  I  was  kindly 
allowed  to  keep  by  President  Emerson  of  the  College  of  Oratory.  I  call 
your  attention  to  the  fact  that  voice  and  culture  are  based  upon  a  sci- 
entific rather  than  upon  a  metaphysical  basis.  We  are  teaching  by  and 
through  the  laws  of  reflex  action  of  the  nervous  system  and  of  muscular 
sensibility,  coming  through  the  discoveries  from  vivisection.  As  a  result 
of  that  discovery  we  find  there  are  certain  nerve  centers  which  affect  the 
voice.  If  the  voice  is  properly  placed  here  (referring  to  the  chart),  every- 
thing else  becomes  all  right;  you  need  not  know  you  have  a  diaphragm. 


116 


MUSIC  teachers'  national  association. 


You  locate  the  tones  properly,  and  use  this  beautiful  upper  chamber. 
The  hound  uses  it,  the  wolf  uses  it;  all  use  this  chamber  of  resonance. 

Secondly,  we  have  another  nerve  center  at  the  end  of  the  chin.  The 
chin  comes  down,  the  soft  palate  goes  up.  Third,  we  have  another  cen- 
ter right  here  that  controls  the  tip  of  the  tongue.  We  use  silver  spoona 
or  knives  to  round  up  the  lip  until  this  center  is  properly  used.  Through 
that  you  get  possession  of  the  top  of  the  tongue — the  tongue  goes  down, 
out  of  the  way,  to  the  normal  position,  the  mouth  is  open,  the  soft  pal- 
ate is  raised,  and  then  the  tones  come  fully  out  with  perfect  ease  and 
comfort  to  yourselves  and  hearers. 

S.  L.  Houghton  :  There  are  two  things  in  the  papers  that  I  want  to 
speak  of,  and  one  of  those  is  in  regard  to  reaching  the  students  in  our 
schools.  In  the  smaller  schools  we  have  not  been  able  to  get  music 
introduced.  If  we  can  get  that,  we  shall  soon  be  able  to  go  on  in  a 
broader  way  with  our  musical  education. 

In  our  own  county  we  are  striving  to  introduce  music,  not  only  in 
the  smaller  schools,  but  we  are  also  trying  to  get  it  in  the  district 
schools.  We  are  in  hopes  we  can  introduce  it  not  only  in  the  graded 
schools,  but  bring  it  into  all  the  district  schools. 

Another  point  was  suggested,  and  that  was  that  music  should  be 
required  by  law  to  be  taught.  I  think  that  should  be  the  case.  I  think 
it  should  be  required  as  a  qualification  of  the  teachers  that  they  should 
understand  something  at  least  of  the  fundamental  rules  of  music,  so  they 
can  start  music  in  the  schools.  Music  fits  right  in  with  the  other  studies. 
We  have  a  great  many  pupils  in  our  graded  schools,  and  some  from  the 
district  schools.  They  are  up  in  the  other  lines  of  work,  but  when  it 
comes  to  music  they  are  way  behind.  They  become  discouraged,  they 
don't  know  what  to  do;  and  it  all  arises  from  their  not  having  been 
taught  in  the  lower  grades  of  the  schools.  If  we  can  manage  to  have 
music  put  into  the  district  schools  it  would  be  to  the  great  advantage  of 
the  pupils.  You  who  are  older  and  better  acquainted  with  this  subject, 
I  should  like  to  hear  from  upon  this  point— music  in  the  smaller  graded 
schools,  and  music  compulsory  in  our  district  schools;  and  in  the  graded 
schools  also. 

Mr.  Harding  :  These  papers  have  been  exceptionally  good,  and  it  is 
very  gratifying  to  me  to  see,  year  after  year,  a  return  to  what  is  really 
practical — that  is,  the  teaching  of  real  things  in  music.  Let  us  not  quar- 
rel over  notations  or  other  immaterial  things.  We  shall  always  have  in 
this  country  the  standard  notation.  I  think,  when  we  teach  tones  in  their 
varied  relationship,  it  should  be  done  before  we  use  any  sign,  or  use  any 
term  to  reach  the  real  thing.  Mr.  Mason  has  made  it  a  special  point  in 
his  paper,  and  which  has  been  made  in  all  systems  of  education  and  by 
all  educators.  You  know,  fellow-teachers,  it  is  a  very  different  thing  to 
give  a  lesson  than  it  is  to  teach.  There  are  people  in  this  country  who  are 
giving  lessons,  but  are  not  guilty  of  teaching  anything. 

What  Dr.  Field  said  to  us  is  very  good,  because  it  makes  a  great  dif- 
ference what  the  tone  of  your  voice  is  ;  whether  you  use  your  personalty 


THE  PSYCHOLOGY  OF  MUSIC — DISCUSSION. 


117 


in  sympathy  with  your  pupils  or  not— whether  they  are  younja;  or  old 
pupils.  Of  course,  we  cannot  teach  a  thing  that  we  have  not  a  clear  un- 
derstanding of  ourselves,  and  so  we  ought  to  have  this  preparation  for 
teaching.  The  art  should  be  taught  to  pupils  as  they  are  able  to  under* 
stand  it,  and  as  they  are  mentally  and  physically  constituted. 

The  time  is  soon  coming  when,  I  think,  all  teachers  of  music  and 
teachers  of  the  public  schools  will  understand  the  art  and  science  of 
teaching  ;  but  it  must  be  studied  pretty  steady,  and  we  never  will  stop 
studying.  Preparation  is  something  of  vital  importance  to  the  interest 
of  the  teacher,  whatever  they  teach.  We  come  to  this  Music  Teachers' 
National  Association  to  learn  the  best  that  has  been  done  and  is  being 
-done  by  the  most  intelligent  teachers  of  the  profession,  and  to  improve 
by  what  we  hear.  If  anybody  can  ghow  us  a  better  way  than  we  are  fol- 
lowing, we  are  glad  to  know  it.  If  we  are  in  a  rut,  let  us  get  out  of  it, 
and  let  us  adopt  the  things  which  belong  to  the  more  excellent  way. 

Mr.  Landon  :  In  New  York  State,  our  meeting  of  a  year  ago,  called 
for  a  committee  to  see  about  getting  music  introduced  into  the  public 
schools,  with  the  help  of  the  Legislature,  thus  making  it  a  State  matter, 
and  putting  music  on  the  same  footing  as  any  other  study.  •  That  com- 
mittee reported  the  form  of  a  bill  which  was  adopted.  It  provided  for  a 
vice-president  from  each  county,  for  the  purpose  of  bringing,  if  possi- 
ble, influence  to  bear  to  secure  the  passage  of  a  bill.  The  bill  provides 
for  a  number  of  things.  First,  that  there  shall  be  efficient  instruction  in. 
all  normal  schools  of  New  York  ;  and,  second,  that  in  the  institutions 
that  meet  once  or  twice  a  year,  where  a  week  is  given  to  normal  instruc- 
tion to  all  district  school  teachers,  and  they  are  acquired  to  be  there  ; 
that  these  schools  shall  have  instruction  in  music  ;  that  the  teachers 
shall  be  taught  how  to  teach  music, and  thus  it  shall  be  possible  to  reach 
the  district  schools  that  lay  back  at  the  four-corners  everywhere  ;  thus 
reaching  the  district  school  of  every  rural  district,  and  also  the  schools 
of  every  city. 

The  bill  has  been  carefully  prepared,  and  we  have  some  of  the  best 
legal  talent  of  New  York  State  to  aid  in  iis  formation.  A  great  deal  of 
time  has  been  given  to  it,  and  a  large  correspondence  has  been  conducted 
with  musicians,  and  we  think  it  is  very  carefully  laid  out.  This  bill  will 
be  published  in  our  annual  report,  and  anyone  interested  can  send  for  it, 
^nd  will  receive  a  copy. 

A  word  about  the  Tonic-sol-fa  system.  After  teaching  by  two  or 
three  staffs  and  notation  methods,  and  against  prejudice,  I  finally  made 
up  my  mind  that  I  would  work  for  the  Tonic-sol-fa,  and  I  became  a  solid 
out  and  out,  square-toed,  flat-footed  Tonic-sol-fa  man.  With  the  same 
teaching  ability  I  can  produce  at  least  four  times  the  results  with  the 
Tonic-sol-fa  that  I  could  with  the  staff  rotation;  putting  the  same  amount 
of  work  in  it.  That  is  not  my  experience  alone,  but  is  the  experience  of 
€very  teacher  who  has  given  it  careful,  honest  trial.  Furthermore,  in  our 
school  we  cannot  get  teachers  who  are  scientific  teachers  ;  they  are  dis- 
trict school  teachers,  and  if  it  is  an  excellent  thing  for  them,  it  is  a  good 


118 


MUSIC  teachers'  national  association. 


thing  for  thoroughbred  musicians.  It  puts  power  into  their  hands  that  is 
not  to  be  ignored. 

Mr.  Perkins,  of  Chicago  :  I  was  questioning  whether  the  subject  is 
handled  in  this  department  as  a  mere  matter  of  theory  and  opinion,  or  as 
the  result  of  experience.  1  do  not  think  it  is  necessary  to  lecture  a  class  of 
people  who  assume  to  know  as  much  as  we  do,  or  attempt  to  convince  or 
convert  them  in  regard  to  the  advisability  of  this  or  that,  when  there  i& 
no  dissension  opinion  as  upon  the  subject  of  singing  being  taught  educa- 
tionally in  all  of  our  public  schools. 

I  would  like  to  say  a  word  upon  the  subject  of  notation.  I  am  not 
going  to  find  fault  with  any  teacher.  I  care  not  what  "system "you 
teach,  if  you  only  succeed,  if  you  only  make  readers  of  music.  I  do  not 
care  whether  you  take  the  Michigan  Central  or  Grand  Trunk  to  get  to 
Chicago,  if  you  get  there  safely  and.  on  time.  When  the  tonic-sol-fasists- 
come  before  this  or  any  other  body  and  make  a  broad  statement  that  so 
much  more  can  be  accomplished  by  that  system  than  by  any  other,  I  think 
it  needs  to  be  demonstrated.  That  statement  has  been  made,  and  very  ex- 
travagantly, in  this  convention  and  on  other  similar  occasions.  Now,  I 
will  claim  this,  that  the  notations  are  the  only  essential  diJBt'erences  in  the 
two  systems.  The  tonic-sol-fa  system,  as  a  distinct  system,  consists  of 
nothing  more  than  its  notation,  and  that  is  a  very  small  factor  in  a  system 
of  singing  or  sight-reading.  Many  very  important  essentials  come  before 
it.  The  staff  and  no  staff  is  the  substance  of  the  differences  in  the  two 
systems.  If  Mr.  Landon,  or  anybody  else,  has  failed  to  teach  by  the  staff 
notation — failed  to  teach  thinking  music,  then  he  would  fail  if  he  teaches 
the  tonic-sol-fa  system.  Teaching  singing  is  to  teach  thinking,  and  not 
notation.  To  teach  music  thinking  is  the  all-important  thing  to  be  done. 
The  written  language  is  very  easily  learned.  This  is  admitted  by  the  most 
enthusiastic  sol-faists.  They  admit  that  the  staff  notation  is  readily  learned 
even  by  sol-fa  pupils — theirs !  If  people  listen  to  me,  and  do  not  know  what 
tones  of  the  scale  I  am  singing,  they  have  not  learned  to  think,  they 
have  not  learned  the  A  B  C  of  our  musical  language,  in  which  condition 
the  simplest  notation  would  be  worthless.  Pupils  must  first  learn  the 
scale-relationship,  chord-relationship  and  key-relationship  of  tones,  then 
the  representation  is  in  order,  and  the  staff  notation  will  not  be  an  im- 
pediment. This  is  admitted  by  Mr.  Seward  in  his  serious,  sober  moments, 
by  Mr.  Curwen  and  all  his  followers.  I  have  had  teachers  from  the  pub- 
lic schools  of  Chicago  to  teach.  They  come  to  learn  how  to  teach.  Can 
they  teach  if  they  have  no  conception  or  perception  of  relative  pitch 
as  classified  in  the  scale  ?  No.  If  they  cannot  produce  a  tone,  they  may 
know  all  the  signs  that  are  in  use,  but  what  are  those  signs  good  for,  if 
the  teachers  have  not  learned  first  to  hear,  to  produce,  critcise  and  know 
whether  their  pupils  are  singing  correctly  or  not  ?  Notation  has  nothing 
to  do  with  it.  If  we  put  some  sign  upon  the  blackboard— a  note,  if  you 
please — and  call  it  "  do,"  the  pupil  will  sing  one  of  the  scale  in  the  major 
key,  and  the  next  higher,  in  consecutive  order,  they  will  call  "re,"  and 
sing  two  of  the  scale.    They  will  sing  them  just  as  readily  and  accurately 


THE  PSYCHOLOGY  OF  MUSIC— DISCUSSION. 


119 


from  notes  or  signs  as  they  would  if  "do  "  and  "re"  were  written.  Ad- 
mitting that  pupils  will  sing  a  few  elementary  scale  and  chord  exercise 
more  readily  during  the  first  term  or  two,  if  the  syllables  do,  re,  me,  etc., 
are  written  out  in  full,  there  will  come  a  time,  and  not  very  far  along  in 
the  study  of  music,  when  the  "  rock-a-by-baby  in  the  cradle"  must  be 
laid  aside,  and  a  system  of  notation  adopted  which  is  broader  and  more 
comprehensive  at  "a  glance,  such  as  will  enable  the  observer  to  grasp 
and  definitely  comprehend  even  a  full  orchestral  score,  and  without  any 
"  do,  ra,  me's"  in  the  musical  pudding  !  Even  Mr.  Curwen,  the  head  of 
the  sol-fa  system,  says  this,  and,  also,  said  in  Chicago  that  pupils  in  the 
public  schools  should  change  to  the  staff  notation  at  the  age  of  about  ten 
years.  I  will  guarantee  to  take  a  class  of  pupils,  such  as  Mrs.  Thomas 
has  here  before  us,  of  the  primary  grade,  if  they  have  learned  to  sing 
nothing  more  than  the  scale  correctly,  and  teach  them  to  sing  in  every 
possible  key  or  position  in  the  time  it  will  take  to  sing  the  scale  through 
seven  times,  which  includes  all  of  the  posinons  in  which  the  scale  can  be 
represented  upon  the  staff.  Pupils  should  not  be  kept  in  the  key  of  C 
long — should  not  be  allowed  to  get  into  a  rut,  but  sing  all  of  the  seven 
positions  so  as  to  be  equally  familiar  in  every  "key,"  so  to  speak.  Had  I 
more  time,  I  would  like  to  illustrate  and  demonstrate  this  ABC  work 
with  the  public  school  pupils  before  me. 

Mb.  Ruggles,  of  Iowa  :  I  listened  to  the  address  read  by  the  lady 
this  morning,  announced  as  a  discussion  of  the  tonic-sol-fa  system,  and  I 
believe  that  just  about  two-thirds  of  the  paper  was  given  to  a  misrepre- 
sentation of  the  staff  notion,  instead  of  a  correct  representation  of  the 
sol-fa  system.  What  we  want  in  these  places  is  an  honest,  fair  repre- 
sentation of  what  is  claimed  for  the  sol-fa  nation,  and  not  have  the  staff 
notion  held  up  for  ridicule  and  misrepresentation.  The  essayist  said  dis- 
tinctly that  the  great  merit  that  the  Tonic  sol-fa  system  claimed  was  that 
they  made  no  effort  whatever  by  exact  figures.  Nine-tenths  of  their  attacks 
are  based  on  the  theory  of  a  representation  by  absolute  figures.  All  good 
teachers  of  staff  notation,  regardless  of  the  challenges  of  the  essayist, 
use  almost  identically  the  principles  employed  in  the  tonic-sol-fa  system. 
I  therefore  ask  that  hereafter  the  essayists  confine  their  criticisms  to 
what  is  fair— that  is,  relative  pitch,  and  not  say  anything  about  repre- 
sentation by  absolute  pitch. 

Mr.  Stewart  :  To-day  I  met  a  young  man  who  is  a  chorister  and  a 
tonic-sol-fa  leader,  and  he  said  :  "Mr.  Stewart,  I  have  been  directing  the 
choir  for  over  a  year.  I  have  led  the  choir  so  long,  and  I  want  to  say 
now  frankly  that  if  I  were  to  begin  with  a  new  lot  of  boys,  I  would  be- 
gin every  time  with  the  staff  notation." 

Adjourned. 


THE    RELATION    OF  STATE  AND  NATIONAL 
ASSOCIATIONS. 

BY  N.  COE  STEWAET,  OF  CLEVELAND. 

The  ultimate  purpose  of  all  association,  local,  State  and  National,  is  to 
benefit  the  individual. 

The  excellence  of  an  association  depends  upon  the  qualification  of 
the  individuals  composing  it. 

If  an  association  is  to  advise  a  constituency,  it  is  manifest  that  its 
members  should  be  from  the  best  element  represented,  and  fully  compe- 
tent to  study,  to  discuss,  and  to  reach  right  conclusions. 

If  there  be  successive  associations  in  line  as  local.  State  and 
National,  then  each  higher  association  should  be  composed  of  the  best 
material  in  the  several  lower  associations,  so  that  the  highest  may  con- 
tain the  combined  wisdom,  as  it  were,  of  the  entire  nation. 

These  several  associations  having  been  formed  for  the  benefit  of  the 
individuals  throughout  the  land,  it  follows  that  the  legislation,  the  con. 
elusions  and  the  advice  of  the  highest  body  must  be  carried  back  through 
the  several  associations  to  the  individual. 

Thus  from  the  individual  to  the  National  Association,  and  from  the 
National  Association  back  to  the  individual,  each  interdependent  upon 
the  other,  and  all  being  parts  of  the  same  great  body,  there  should 
course  the  life-giving  and  sensuous  influences  which  nourish,  which 
bring  into  harmony,  and  which  minister  to  the  healthful  growth  of  all 
the  bodily  members. 

The  world  really  is  only  so  many  individual  persons.  If  these  have 
reached  perfect  development,  the  world  may  be  said  to  be  at  its  highest 
condition.  But  in  no  sense  is  an  individual  independent  of  his  sur- 
roundings. He  himself  is  only  the  result  of  myriad  influences.  He  can- 
not be  wlOiOlly independent,  for  the  lines  of  his  life  reach  back  to  creation, 
and  forward  to  the  end  of  time.  Verily  then,  though  we  say  "  the  indi- 
vidual." "no  man  liveth  unto  himself/'  Yet  the  ego,  although  com- 
posed of  influences,  around,  above  and  beneath  him,  is  the  unit  upon 
which  association  must  be  builded;  and  for  whom  all  association  con- 
sists, and  it  is  evident  that  he  cannot  arise  to  the  highest  development 
without  the  best  association. 

"Individuals  make  the  world,"  and  "  the  best  efforts  of  the  world 
are  for  the  individual."  These  are  great  natural  laws,  and  all  who  would 
be  wise  would  do  well  to  place  themselves  in  line  with  the  same,  and  not 
betray  ignorance  and  refuse  nature's  benefactions  by  contending  against 
associations  of  the  most  profitable  type.  The  Music  Teachers'  National 
Association  was  organized  in  consonance  with  this  thought. 


THE  RELATION  OF  STATE  AND  NATIONAL  ASSOCIATIONS.  121 


The  chaotic  condition  of  things  prompted  the  effort  to  set  about 
doing  something:  (a)  to  define  and  to  establish  legitimate  musical  instruc- 
tion and  development;  (b)  to  seek  out  right  lines  in  teaching  and  train- 
ing along  which  the  work  might  be  prosecuted;  (c)  to  conserve,  and  to 
bring  into  hearty  co-operation,  all  departments  in  music  education  ;  (d) 
to  bring  into  co-operation  to  these  ends  the  private  teachers,  the  class 
teachers,  music  sehools,  musical  organization,  etc. ;  (e)  to  show  to  the 
world  that  music  is  a  necessary  educational  factor  and  lays  claim  to  a 
prominent  position  in  every  well-rounded  course  of  study;  and  (f)  to  put 
into  activity  and  keep  in  motion  the  forces  which  are  necessary  to 
accomplish  the  work. 

The  beginning  was  made.  Yearly  meetings  have  been  held.  Opin- 
ions pro  and  con  have  been  expressed,  and  all  of  the  conflicting  agencies 
incident  to  young  and  vigorous  life  have  been  in  operation.  The  devel- 
opment, although  not  always  in  accordance  with  well-laid  plans,  has 
been  wonderful,  and  to-day  the  necessity  is  apparent  for  important 
changes  in  the  management  of  the  Association,  that  it  may  more  fully 
accomplish  the  purposes  of  its  organization.  The  present  discussion 
should  be  thorough  and  complete,  and  as  soon  as  possible  should  lead  to 
action  in  the  premises: 

As  a  help  in  reaching  proper  conclusions  in  our  discussion  it  may  be 
well  to  say  very  briefly,  and  in  general,  that  the  definite  things  toward 
which  all  these  activities  are  supposed  to  tend,  are: 

First,  The  improvement  in  musical  compositions,  both  vocal  and 
instrumental,  by  encouraging  those  who  would  essay  composition,  in 
giving  an  adequate  rendering  to  their  works  ;  to  give  them  kindly  criti- 
cism and  encouragement ;  to  use  their  compositions,  when  possessing 
merit,  in  professional  work,  and  thus  to  lead  on  until  a  high  degree  of 
excellence  is  reached. 

Second,  To  establish  right  methods  of  teaching,  so  that  not  only  a 
well  classified  knowledge  of  the  subject  may  be  obtained,  but  also  that 
the  highest  degree  of  mental,  moral  and  sesthetical  development  may  ac- 
crue. For  it  must  not  be  forgotten  that  we  are  educating  men  and 
women  as  well  as  instructing  them  in  the  science  and  art  of  music. 

Third,  To  classify  and  to  adopt  music  in  the  various  ways  in  which 
music  is  used  in  the  home,  the  school,  the  church,  society,  etc.,  so  that 
right  music  and  proper  text  may  be  at  hand  and  the  benefit  be  certain 
and  not  accidental. 

Fourth,  To  establish  correct  models  in  musical  interpretation. 

And  Fifth,  To  place  ourselves  in  line  with  the  advanced  educational 
thought,  and  progress  of  the  times,  and  grow  as  the  other  departments 
in  education  do,  and  to  disseminate  this  spirit  until  all  who  would  be 
called  musicians  are  competent  themselves,  and  are  in  sympathy,  and 
active  co-operation  with  the  thought  of  progress  and  higher  develop- 
ment. 

The  relation  of  the  States  to  the  National  Association  is  that  of  a 


133 


MUSIC  teachers'  national  association. 


lower  to  a  higher  body,  both  of  which  depend  upon  lesser  organizations 
and  upon  the  individual. 

The  purpose  of  this  relationship  is  helpfulness,  and  to  be  so  the  at- 
titude should  be  that  of  inquiry,  suggestiveness,  and  advising,  and  not 
commanding  and  dictatorial. 

It  must  be  remembered,  too,  that  the  obiect  of  both  the  States  and  the 
National  Associations  is  to  exert  such  influence  that  teachers  may  become 
competent,  may  be  honest,  may  use  right  music  and  methods  in  their 
teaching,  may  know  what  to  do  and  how  to  do  it  to  develop  the  musical 
taste,  knowledge  and  executive  power  of  the  individual,  and  the  several 
communities  in  which  they  live.  Then  to  extend  this  influence  unti- 
every  portion  of  the  country  is  permeated  and  all  are  working  in  the  line 
of  higher  aspiration  and  development. 

If  there  were  no  incompetency,  no  bad  music,  and  no  low  and  de- 
praved musical  taste,  there  could  be  no  warfare  against  the  same, but  only 
and  inducting  into  right  ways.  But  unfortunately  there  is  the  bad,  and 
hence  there  must  be  the  fight  of  the  spirit  of  light  against  the  spirit  of 
darkness,  the  good  against  the  bad. 

The  character  of  the  campaign  should  be  for  the  greatest  effective- 
ness. There  must  be  the  earnest  co-operation  of  all  the  good,  the  exhi- 
bition of  thes  best  models,  and  the  inculcation  of  right  things  until  the 
good  shall  grow  up  and  dominate  over  the  bad,  until  finally  the  good 
judgment  of  the  people  shall  be  only  for  the  good. 

To  thus  establish  the  good  and  overthrow  the  bad  is  the  main  pur- 
pose for  which  all  are  working.  It  is  greatly  to  be  regretted  that  the 
benefit  of  association  and  mutual  help  is  not  universally  recognized  by 
musicians  as  a  great  natural  law. 

Notwithstanding  the  many  who  attend  our  annual  meetings,  state 
and  national,  the  fact  still  remains  that  the  larger  majority  of  musicians 
and  music  teachers  thoroughout  the  country  are  working  single-handed 
as  they  suppose. 

They  ma}^  know  much  of  music  and  talk  learnedly  of  musical  theory 
and  history.  Yet  they  do  not  seem  to  know  that  they  actually  must  and 
do  draw,  though  it  be  unconsciously,  from  others. 

They  do  not  seem  to  know  that  each  person  is  at  best  only  a  part  of 
a  whole.  That  it  is  a  privilege  to  draw  freely  upon  the  brethren,  and  a 
duty  also  to  give  unto  others  and  to  let  their  light  shine.  The  circulation 
is  so  slow  and  the  route  so  circuitous  between  them  and  the  main  body, 
that  both  they  and  the  body  suffer  in  consequence. 

This  single  instance  will  call  to  your  minds  much  that  is  not  right 
among  musicians,  musical  organizations  and  the  general  public  and  which 
are  to  be  corrected. 

It  will  also  be  suggested  to  you  that  the  earnest  and  persistent  effort 
of  broad  teachers  who  appreciate  their  relations  to  the  professional 
and  general  world,  in  their  own  sphere,  and  in  conjunction  with  those 
whom  they  can  induce  to  work  with  them  to  disseminate  right  views 


THE  RELATION  OF  STATE  AND  NATIONAL  ASSOCIATIONS.  123 

among  their  pupils,  their  friends  and  the  public,  and  then  to  work  toward 
the  State  and  National  Associations  in  one  means  of  reform. 

Then  the  musical  and  public  press  which  are  ever  ready  to  take  up 
their  part  in  educating  the  public  when  aware  of  their  obligations  and 
method  of  procedure  in  the  premises  must  be  continuously,  though 
wisely  employed. 

Music  teachers  and  musical  people  everywhere  must  be  made  cog- 
nizant of  their  obligations  and  aroused  into  activity  in  the  performance 
of  the  same.  Local,  semi-state  and  state  organizations  will  then  be 
systematically  and  well  organized,  and  their  moral  functions,  including 
relationship  to  the  national,  will  be  well  considered. 

Now  the  line  of  true  policy  may  be  seen  and  it  is  evident  thai  the 
relationship  between  the  several  State  Associations  and  the  National  must 
be  such  as  to  foster  and  assist  to  the  greatest  degree  this  universal  spread 
of  general  information  on  these  subjects,  and  the  arousing  to  action  of 
all  parties,  musical  and  unmusical  (for  all  are  interested)  until  a  right 
condition  of  things  shall  exist. 

There  is  great  influence  arising  from  our  large  annual  gathering  both 
in  State  and  National  Associations.  Participation  is  a  wonderful  and 
magnetic  power,  and  there  is  good  reason  for  concluding  that  the  pres- 
ent arrangement  of  getting  out  the  best  program  possible  and  getting 
every  one  to  come  is  an  excellent  one.  But  when  probabilities 
as  well  as  possibilities  are  considered  it  would  seem  that  as  an  incentive 
to  the  State  Associations  as  well  as  to  the  National  a  system  of  quite  large 
delegations  from  the  State  to  the  National,  and  the  delegation  of  such  a 
character  as  to  represent  the  best  of  the  state  in  the  several  lines,  is  the 
best  thing  to  be  done,  especially  when  it  is  considered  that  the  influence 
of  this  great  organization  may  be  felt  in  legislation  when  important 
matters  concerning  music  and  musicians  is  desired  or  is  under  considera- 
tion. 

When  delegations  arriving  from  all  states  would  see  that  the  partici- 
pants in  the  national  programs  were  selected  from  all  sections  of  the 
country,  would  feel  under  obligation  to  be  present  themselves  and  to  see 
that  their  appointees  were  also  present.  This,  more  in  part,  bring  all 
states  to  touch  each  other.  It  need  not  hinder  any  who  wish  and  who 
could,  and  yet  are  not  delegates,  from  the  enjoyments  and  direct  benefits 
of  the  national  meetings. 

A  complete  report  of  the  state  delegations,  back  to  their  constituents 
in  addition  to  the  information  received  through  the  press  would  cause  the 
doings  of  the  National  to  be  felt  in  every  part  of  the  land,  and  would 
cause  every  section  to  feel  that  it  had  a  part  in  the  national,  and  this  in 
our  present  discussion  is  the  object  of  our  desire. 

This  is  the  conclusion  to  which  our  reasoning  tends,  and  yet  the 
whole  thing  must  be  managed  not  to  smother  or  put  back  the  flame  al- 
ready kindled. 

It  is  manifest  that  both  state  and  national  could  not  be  held  near 
each  other  as  to  time,  for  there  must  be  time  for  delegates  to  prepare  for 


124 


MUSIC  teachers'  national  association. 


the  National  as  well  as  to  report  back  to  the  State.  And  the  two  ways 
suggested  are  either  that  the  state  meetings  be  held  about  Christmas  time 
and  the  National  in  the  summer,  or  that  the  State  Convention  meet  one 
year  and  the  National  the  next.  My  preference  would  be  for  the  former, 
as  the  great  growth  desired  requires  much  cultivation,  and  the  more  con- 
ventions the  better;  always  provided  that  the  meetings  are  well  prepared 
for,  and  do  not  lose  their  enthusiasm  and  their  fervor. 


NEED  THE  STATE  MUSIC  TEACHER'S  ASSOCIA- 
TIONS INJURE  THE  MUSIC  TEACHERS' 
NATIONAL  ASSOCIATION  ? 


BY  JOHANNES  WOLFRAM,  OF  CANTON,  O. 

One  of  the  most  gratifying  signs  of  the  times  is  the  rapid  growth  in 
the  standard  of  musical  attainments.  The  musical  public  now  esteem 
as  never  before,  the  educational  value  of  good  concerts.  In  the  country- 
villages,  not  many  years  since,  any  musician  coming  into  the  place  and 
singing  or  playing  better  than  the  local  favorite,  was  as  much  worse  in 
the  opinion  of  this  local  singer's  friends  as  there  was  difference  in  the 
quality  of  their  performance.  That  is  now  fast  passing  away,  for  musical 
people  are  being  educated  up  to  a  better  standard  by  hearing  our  best 
artists,  so  that  local  favorites  no  longer  hold  the  exhalted  place  that  they 
once  did.  Concert  organizations  of  all  kinds,  are  multiplying.  Instru- 
mental and  vocal  societies  are  forming  in  nearly  every  city  and  town  of 
importance,  these  give  series  of  concerts  where  good  artists  are  heard  in 
the  solo  parts. 

The  increasing  number  of  conservatories  that  are  doing  fine  work,  is  • 
another  evidence  of  advancement.  In  many  of  these  conservatories  are 
to  be  found  superior  teachers,  surrounded  by  everything  that  will  make 
their  work  the  most  effective.  Not  many  years  since,  "boarding  school 
music,"  was  a  synonym  for  superficiality  and  shallow  pretence,  while 
now  some  of  these  schools  rival  the  best  conservatories  in  courses  of 
study  quality  of  teaching  and  grade  of  work.  They  have  their  artists 
recitals,  weekly  lectures  and  musicales  and  are  requiring  the  study  of 
musical  theory  from  two  to  four  years. 

Well  read  and  progressive  musicians  will  all  agree  to  the  fact,  that 
from  more  than  all  other  causes  combined,  is  this  musical  improvement 
due  to  the  Music  Teachers'  National  Association  and  the  influence  of  its 
"Higher  House,"  the  American  College  of  Musicians,  not  forgetting  the 
State  associations  which  are  doing  a  grand  work,  a  work  that  has  been 
made  possible  through  the  success  of  the  National  Association.  The 
work  and  effort  that  has  been  given  to  organizing  the  New  York  State 
Music  Teachers'  Association  would  have  resulted  in  total  failure  if  it  had 
been  attempted  a  few  years  earlier.  We  occasionally  hear  a  weak  crit- 
ieism  of  the  work  of  the  American  College  of  Musicians,  but  this  is  nearly 
always  something  of  a  case  "of  the  fox  and  the  grapes." 

In  defining  a  degree,  we  learn  that  it  is  intended  to  show  simply 
that  a  man  has  in  the  opinion  of  a  competent  tribunal  attained  a  certain 


126 


MUSIC  teachers'  national  association. 


proficiency  in  certain  branches  of  human  knowledge.  It  shows  also, 
that  he  has  passed  a  number  of  years  in  successful  study,  Its  value, 
however,  lies  in  what  it  indicates  as  to  the  graduate's  acquisitions.  I  for 
one  cannot  see  why  the  American  College  of  Musicians  does  not  meet  all 
the  above  calls.  From  a  study  of  the  history  of  some  of  our  older  and 
best  known  Colleges  and  Universities,  I  learn  that  their  beginnings  were 
not  essentially  different  from  that  of  the  American  College  of  Musicians. 
This  college  has  the  same  legal  authority  to  confer  degrees  and  award 
diplomas  that  any  College  has.  And  as  to  musical  scholarship,  the  ex- 
aminers and  officers  of  the  American  College  of  Musicians  do  not  need 
to  be  ov^r  modest,  even  if  the  College  is  young. 

The  work  and  progress  of  the  College  of  Musicians  have  been 
steadily  maintained  and  the  examinations  just  closed  in  New  York  were 
the  most  successful  of  any.  The  test  papers,  I  am  told,  were  fully  up 
to  the  standard  and  in  some  respects  higher  than  heretofore,  and  yet  a 
larger  percentage  of  candidates  passed  a  successful  examination.  This 
points  unmistakably  to  the  inference  that  students  are  preparing  them- 
selves for  their  life-work  with  greater  thoroughness.  The  College  of 
Musicians  moves  along  without  bluster  or  noise  but  it  is  doing  a  great 
work. 

The  Music  Teachers'  National  Association  has  a  grand  mission  in 
bringing  out  the  works  of  our  American  Composers,  and  in  giving 
papers  on  the  more  advanced  theories  and  ideas  connected  with  our  art, 
and  in  the  work  given  to  its  able  committees,  but  not  its  least  important 
work  is,  as  fast  as  possible,  to  organize  associations  in  the  States  that  are 
not  yet  brought  into  line. 

The  State  Association  should  present  such  programs  as  will  give  the 
most  and  best  praciical  help  to  teachers  and  pupils. 

The  State  associations  have  a  great  work  in  reaching  the  millions  of 
music  lovers,  through  the  efforts  of  our  thousands  of  teachers,  thus  ele- 
vating music  with  all  the  refinements  that  this  includes,  to  a  higher  plane 
than  that  of  any  other  country.  Moreover,  the  State  Associations,  are 
comparatively  local,  so  that  the  average  music  teacher  can  afford  to  at- 
tend, (cannot  afford  not  to  attend,)  while  the  magnitude  of  our  country 
is  such  that  the  meetings  of  the  National  are  beyond  the  reach  of  the 
greater  number  of  the  profession. 

The  work  of  the  State  Association  is  in  elevating  the  standard  of 
teaching  and  artistic  attainment,  and  in  making  a  better  grade  of  music 
popular  among  the  people.  One  means  of  accomplishing  this  is  by  get- 
ting the  public  to  read  music  journals,  then  they  will  be  too  well  in- 
formed to  be  the  dupes  of  poor  teaching.  They  will  then  patronize  and 
sustain  all  well  directed  efforts  for  improving  the  music  of  their  com- 
munities. Dabblers  in  music  are  too  numerous,  and  the  public  must  be 
educated  up  to  such  a  point  that  only  good  teachers  will  find  employ- 
ment. The  State  associations  need  to  help  in  forming  vocal  and  instru- 
mental societies  in  all  of  the  larger  towns  of  our  country. 

They  must  also  use  every  legitimate  means  to  have  vocal  music 


STATE  AND  NATIONAL  MUSIC  TEACHER' S  ASSOCIATIONS. 


127 


taught  in  the  Public  Schools,  by  well  qualified,  professional  and  day- 
school  teachers.  They  must  bring  the  public  up  to  a  better  appreciation 
of  the  social,  refining,  educational  and  moral  value  of  music.  To  induce 
the  State  Legislatures  to  put  vocal  music  in  schools  on  a  footing  equal  to 
that  of  other  studies.  By  getting  the  county  and  local  newspapers  to 
give  more  space  to  musical  articles  and  news,  and  especially  to  music  in 
the  schools.  When  the  State  associations  teach  the  public  to  a  better 
appreciation  of  the  value  of  music,  there  will  be  a  greater  demand  for 
books  on  musical  history,  biography  and  works  on  musical  theory  and 
esthetics,  and  these  associations  must  get  our  intelligent  amateurs  to  be 
more  active  in  these  lines. 

With  this  more  general  awakening,  our  summer  music  schools  will 
flourish.  Not  that  a  few  weeks  of  study  will  make  a  finished  musician, 
but  the  teacher  who  already  has  a  working  knowledge  of  his  art  will  get 
many  ideas  that  are  new  and  valuable  to  aim  and  his  pupils.  He  will  get 
inspiration  and  enthusiasm  for  his  work,  from  associating  with  ambitious 
fellow  students  and  from  contact  with  leading  teachers  and  artists.  In 
the  present  state  of  our  national  development  in  music,  I  bid  the  summer 
music  schools  God  speed. 

One  necessary  work  of  the  State  Associations  is  in  getting  our  teach- 
ers to  appreciate  the  music  of  the  best  American  composers,  and  to  use 
more  generally  in  their  own  teaching. 

Another  valuable  work  for  them  is  in  getting  teachers  to  give  pupil's 
musicales.  Their  value  lies  in  bringing  pupils,  patrons  and  teachers  to- 
gether to  study  the  works  of  some  composer,  or  the  compositions  of  some 
epoch  in  musical  history.  They  give  an  incentive  for  better  practice,  and 
the  teacher's  whole  class  will  be  lifted  to  a  higher  musical  plane  by  them. 
They  give  pupils  confidence  to  play  before  an  audience,  increase  the  pub- 
lic interest,  and  will  educate  our  patrons  up  to  demanding  nothing  but 
the  best  things  in  music.  Our  State  Associations  must  convince  the  rank 
and  file  of  music  teachers  that  they  cannot  afford  to  ignore  and  neglect 
the  Association  idea. 

Teachers  must  become  interested  in  preparing  pupils  for  the  exami- 
nations of  the  American  College  of  Music ;  but,  to  do  this  successfully, 
they  must  work  from  higher  ideals,  and  these  ideals  are  formed  largely 
by  hearing  the  fine  artists  that  give  the  association  recitals  and  concerts, 
and  in  the  valuable  ideas  there  advanced  on  all  points  of  interest  to 
teachers.    This  is  work  that  nothing  but  the  State  Associations  can  do. 

Our  church  organs  should  be  played  by  organists  who  are  teacher* 
and  not  amateurs  ;  ^and  here  again  is  a  work  calling  for  the  influence  of 
the  State  Associations  through  their  county  vice-presidents.  Church 
music  and  Sunday-school  music  must  also  be  improved. 

Through  the  State  Associations  and  their  county  vice-presidents,  our 
teachers  must  be  taught  the  great  educational  value  of  artists'  recitals, and 
how  easily  they  can  be  conducted,  even  in  the  smaller  towns.  The  county 
vice-presidents  of  the  State  Association  can  get  the  local  lecture  courses 
to  have  a  due  share  of  recitals,  as  well  as  of  lectures  and  readings. 


128 


MUSIC  teachers'  national  association. 


These  important  state  officers  can  also  see  to  it  that  the  towns  and 
schools  shall  have  musical  works  in  their  libraries,  and  get  the  teachers  to 
mark  out  course  of  a  musical  study  or  reading  for  their  pupils.  Tonic 
Bol-fa  has  vitality  enough  to  care  for  itself — notwithstanding  that  it  has 
been  killed  so  many  times  that  there  has  not  been  sold  in  our  county 
only  a  little  over  two  hundred  thousand  books  on  that  subject — and  also 
spare  a  helping  hand  to  the  work  of  the  Association, 

From  the  most  excellent  results  and  thorough  work  that  it  makes 
possible,  I  wish  to  say  a  word  for  that  form  of  State  Associations  that 
provides  for  county  vice-presidents  and  delegates  to  them  the  above  wide 
fields  of  musical  activity.  County  and  city  associations  are  doing  good 
work,  and  these  are  a  part  of  the  State  Association's  interests. 

Music  teachers  are  now  men  and  women  who  think  for  themselves, 
and  have  ideas  of  their  own,  and  many  of  them  can  express  their  ideas 
from  the  platform.  We  now  have  hundreds  of  good  lecturers  and  essay- 
ists on  musical  subjects  where  we  had  but  tens  in  the  early  years  of  our 
Association.  It  is  commonly  believed  that  when  a  man  has  a  good 
idea  he  wishes  for  an  audience  to  whom  to  tell  it.  If  he  can  also  think 
while  on  his  feet,  he  will  be  active  in  debate. 

When  most  of  the  States  have  efficient  and  well-organized  Associa- 
tions, it  is  more  than  probable  that  they  will  send  duly  elected  and  quali- 
fied delegates  to  the  National  Association,  and  these  will  be  its  members; 
but  perhaps  it  will  also  have  a  list  of  associate  or  honorary  members,  as 
well  as  the  official  delegates.  But,  if  this  does  not  prove  to  be  the  case 
I  belive,  from  the  experience  of  the  last  few  years,  that  there  will  be 
enough  progressive  teachers  coming  to  the  front,  through  the  influence 
of  the  State  Associations,  to  soon  give  the  National  Association  aa  large 
a  membership  as  it  can  best  serve,  and  its  members  will  be  more  and 
more  from  the  leading  musicians  of  our  country. 

But,  to  make  all  of  this  effective,  there  must  be  a  lively  enthusiasm, 
and  this  indispensible  and  all-powerful  element  of  success  would  be  lack- 
ing if  our  meetings,  especially  those  of  the  State  A8sociation8,5were  held 
but  once  in  two  years.  Is  not  the  work  that  the  State  Associations  have 
yet  to  do  too  overwhelmingly  and  imperatively  great  to  be  accomplished 
in  bi-ennial  meetings?  But,  with  meetings  every  year,  the  members  go 
to  their  homes  full  of  enthusiasm,  and  from  their  glowing  accounts  they 
get  many  people  interested,  and  so  the  good  work  goes  onward.  The  re- 
sults of  my  experience  convince  me  of  the  necessity  of  annual  meetings 
for  our  State  Associations. 

When  the  Music  Teachers'  National  Association  was  young  and  but 
little  known,  it  held  its  sessions  during  the  Christmas  holidays;  but  before 
coming  to  the  days  of  strength,  by  waiting  for  a  natural  growth,  which 
has  come  by  its  proving  its  right  to  live,  it  changed  its  time  of  meeting 
to  the  last  of  June  and  first  of  July,  I  believe  that  too  much  faith  is 
placed  upon  this  change,  and  that  the  increase  of  membership  is  due 
more  to  the  growth  of  the  association  idea  than  to  this  change  of  date. 
We  are  to  recognize  the  fact  that  teachers  give  very  few  lessons  for 


STATE  AND  NATIONAL  MUSIC  TEACHEIIS'  ASSOCIATIONS.  129 

about  two  weeks  during  the  winter  holidays,  and  especially  is  this  true 
with  teachers  living  in  cities  and  large  towns.  Furthermore,  from  the 
^jflrst  of  May  till  in  July  multitudes  of  teachers  and  musical  artists  go  to 
Europe,  either  to  fill  engagements  or  on  their  vacations.  And  it  is  this 
class  of  musicians  that  we  wish  to  have  with  us,  and  especially  to  place 
them  on  our  programs.  The  greatest  difficulty  in  getting  up  superior 
programs  for  the  New  York  State  Music  Teachers'  Association  has  been 
caused  as  above  hinted,  and  I  appeal  to  the  Program  Committees  of  other 
States,  as  well  as  those  of  the  National,  for  the  verification  of  this  stub- 
born fact. 

As  the  subject  of  change  of  date  will  be  prominent  in  the  next  meet- 
tings  of  the  Association,  I  will  engage  to  attend  the  meetings  of  a  State 
Association,  and  then  travel  the  distance  necessary  to  be  at  the  National. 
It  is  a  great  tax  on  one's  strength, especially  during  the  heat  of  the  summer 
season  ;  but,  if  the  National  Association  would  hold  its  meetings  during 
the  last  few  days  of  December  and  first  of  January,  then  tbe  State  Asso- 
ciations, which  have  so  great  and  necessary  work,  would  in  no  way 
conflict  with  the  National,  but  will  directly  help  it  to  a  still  greater  pros- 
perity and  influence.  If  the  National  Association  should  hold  its  meet- 
ings in  the  winter,  we  would  have  invitations  to  visit  the  cities  of  our 
Southern  States. 

One  of  the  greatest  items  of  expense  to  the  State  Associations  is  in 
securing  the  addresses  of  music  teachers  and  musical  people.  If  their 
meetings  were  held  but  once  in  two  years,  as  some  are  now  agitating— and 
I  believe  so  unwisely — these  addresses  for  a  second  and  fourth  year  would 
be  practically  worthless,  because  of  removals,  marriages  and  deaths. 
The  greatness  of  our  art  supplies  a  place  broad  enough  for  both  the  State 
and  National  Associations,  and  I  cannot  believe  that  the  one  can  over- 
shadow the  other,  while  I  do  see,  that  when  the  Divine  Art  has  reached 
its  true  station,  both  will  be  a  mighty  and  powerful  influence  for  good  in 
making  the  world  better  and  happier. 

This  question  of  dates  should  be  made  to  harmonize,  if  a  compromise 
can  be  had,  by  placing  the  time  of  the  National  meeting  in  the  Christ- 
mas holidays.  I  believe  that  will  prove  a  strong  measure  in  the  gaining- 
of  the  influence  of  the  Music  Teachers'  National  Association,  and  yet  a 
greater  means  of  strength  to  the  State  Associations,  which  latter  organi- 
zations are  the  channel  through  which  we  are  to  bring  the  music-loving 
masses  of  our  country  up  to  a  higher  plane.  We  are  to  remember  that 
tbe  art  of  teaching  music  is  making  wonderful  advancement,  and  our 
teachers  must  have  all  the  assistance  that  annual  associations  can  give  in 
helping  them  keep  step  with  the  strides  of  progress.  If  it  were  not  for 
this  refining,  elevating  and  moral — yes,  religious— influence  of  music 
upon  the  people,  neither  you  or  I  would  prosecute  this  association  work 
with  such  vigor  and  interest. 

Shall  we  meet  annually  or  biennially  ?  As  an  advocate  of  biennial 
meetings  of  the  Music  Teachers'  National  Association,  the  program 
Committee  has  invited  me  to  present  my  views. 


130 


MUSIC  teachers'  national  association. 


I  believe  biennial  meetings  are  demanded. 
First,  By  the  highest  interests  of  the  musical  art. 
Second,  By  overtaxed  officers.  ♦ 
Third,  By  the  material  interests  of  the  musical  profession. 
Fourth,  To  prevent  antagonism  between  State  Associations  and  the 
National  Association. 

I.  To  insure  the  life  and  perpetuity  of  the  National  Association,  the 
high  art  standard  of  our  meetings  must  be  maintained.  Last  year  at 
Philadelphia  serious  shortcomings  were  evident.  If  this  year  is  a  step 
toward  an  ideal  convention,  it  is  due  to  influences  that  conspired  to  make 
it  so,  which  may  prove  inoperative  in  the  future. 

Our  national  meetings  are  planed  upon  a  gigantic  scale,  hence  the 
program  and  executive  committee  is  always  pressed  for  time.  Many  de- 
tails would  be  more  carefully  considered  and  many  features  more  care- 
fully prepared,  if  time  permitted.  Nothing  should  bear  the  stamp  of  un- 
due haste.  " Festina  lente."  "Make  haste  slowly"  should  be  our  motto. 
Haste  is  antagonistic  to  true  art. 

Biennial  meetings  are  the  solution. 

II.  The  strain  upon  officers,  who  believe  in  the  conscientious  dis- 
charge of  duty  is  something  tremendous  and  sufficient  to  undermine  the 
best  constitution.  The  years  of  office  of  the  chairman  of  the  Executive 
and  Program  committee  have  been  to  them  years  of  great  sacrifice,  when 
every  interest  of  theirs  was  sacrificed  to  the  welfare  of  the  National 
Association.  Our  great  leaders,  Lavaliee,  Leckner,  Heath,  Penfield 
and  others  had  for  a  time  their  health  impaired  and  if  Hahn,  who  is 
known  not  to  have  slept  with  both  eyes  closed  the  past  year  survives  un- 
hurt, he  must  be  made  of  indestructable  material.  Shall  we  continue  to 
jeopardize  the  lives  of  our  best  men  ?  Bienniel  meetings  will  prevent 
this. 

HI.  Our  profession  is  a  poor  one.  Poverty  and  art  are  seemingly 
related.  It  takes  the  vicissitudes  of  life  to  develop  the  emotional 
nature.  From  the  middle  classes  whose  watchword  is  progress  and  whose 
daily  labors  mean  strive;  our  talented  music  students,  our  teachers,  our 
artists,  our  composers  emanate.  If  we  endeavor  to  improve  our  material 
condition  by  raising  the  price  of  tuition,  we  throw  ourselves  into  the 
arms  of  the  wealthy,  which  is  equivalent  to  teaching  indolent  and  strive- 
less  pupils.  This  would  be  a  great  detriment  to  legitimate  art.  Our  pur- 
pose emphasizing,  that  we  are  not  blessed  with  the  material  goods  and 
that  the  strain  upon  our  purses  to  attend  annually  the  National  meeting 
is  TOO  GREAT  and  often  at  the  expense  of  the  comfort  of  our  families 
at  home. 

Make  the  strain  lighter  by  adopting  biennial  meetings. 

IV.  This  year  the  Associations  of  Ohio,  Indiana,  Illinois,  Kentucky 
and  Michigan  have  abandoned  their  state  meetings  at  the  solicitation  of 
the  National  official  household  and  to  oblige  the  National  Association. 
If  you  hold  your  meeting  next  year  in  any  of  the  states  mentioned,  you 
will  meet  with  antagonism.    You  will  be  asked  to  postpone  the  National 


STATE  AND  NATIONAL  MUSIC  TEACHERS'  ASSOCIATIONS.  131 

meeting,  and  if  you  fail  to  return  the  compliment,  not  even  our  Napol- 
eon, J.  H.  Hahn,  will  prevent  a  Waterloo. 

Let  us  be  prudent  and  instead  of  inviting  the  ill-will  of  the  State  As- 
•ociations,  ensure  their  good  will  by  determining  upon  biennial  meet- 
ings. Art  and  financial  interests  determined  biennial  meetings  for 
the  Beireuth  festivals.  Let  us  study  the  lesson  contained  in  this 
fact. 

Our  Art  labors  should  be  performed  with  deliberation  and  circum- 
spection. In  the  United  States  we  are  apt  to  go  to  extremes.  To  every- 
thing is  applied  electric  force. 

V.  The  constitution  should  be  amended  that  labors  of  the  house- 
hold be  spread  over  two  years,  and  not,  that  the  first  year  be  idly  passed. 
I  believe  that  if  the  President-elect  appoint  within  ninety  days  a  com- 
mittee to  study  what  changes  in  the  constitution  (if  the  adoption  of  bien- 
nial meetings  take  place)  appear  advisable,  and  that  such  changes  be 
adopted  provisionally  until  the  next  meeting,  when  they  should  be  reported 
for  adoption,  the  whole  affair  would  seem  adjusted. 

Dates  for  sending  original  compositions,  dates  of  committee  meet- 
ings, etc.,  should  occur  earlier  under  the  biennial  regime,  as  also  the  pub- 
ilication  of  the  report. 

VI.  Biennial  meetings  will  further  the  consumation  of  the  organic 
union  between  the  National  Association  and  the  State  Associations.  The 
time  for  a  move  in  this  respect  has  come  and  a  powerful  committee 
should  be  appointed  to  further  study  the  question  and  report  a  plan  for 
adoption  at  the  next  meeting. 

VII.  The  opponents  to  the  introduction  of  biennial  meetings  claim 
that  it  will  abate  the  interests  in  our  propoganda  and  meetings.  This 
conclusion  is  certainly  not  warranted  by  facts.  The  interest  in  the  meet- 
ings of  the  Music  Teachers'  National  Association  must  receive  its  life  and 
vigor  from  the  artistic  and  educational  standard  of  the  program.  If  the 
present  high  standard  is  maintained,  we  need  not  fear.  In  the  years 
when  no  National  meeting  occurs  we  give  our  attention  to  State  meet- 
ings, and  prosecute  our  art  and  professional  interests  in  these  channels, 
which  are  the  veins  of  the  Music  Teachers'  National  Association.  Thus 
there  is  no  cessation  in  our  work.  If  our  interest  in  the  National  Asso- 
ciation is  inspired  by  humorsome  sentimentality  it  is  to  be  regretted.  Let 
us  be  guided  by  the  facts  and  the  evidence,  and  not  by  whims  and  no- 
tions  that 'have  no  ra^S(?7i  cZ'6^re.  Are  the  Beireuth  festivals  less  attrac- 
tive because  they  occur  not  annually  ?  The  May  festivals  of  Cincinnati 
resulted  in  a  "deficit"  as  long  as  they  were  held  annually,  now  under 
the  biennial  rule,  they  command  a  surplus. 


SUPPLEMENTARY  ESSAY. 


BY  WILLIAM  WOLSIEFFER,    OF  PHILADELPHIA. 

Mr.  President : 

This  is  a  subject  to  which  I  have  given  much  thought,  being  filled 
with  the  desire  for  the  complete  success  of  both  National  and  State 
Associations.  We  meet  the  adherents  of  each  side  of  the  question,  who 
range  themselves  thus  in  consequence  of  being  possessed  of  the  belief 
that  National  and  State  bodies  cannot  co-exist.  Those  who  openly  avow 
that  State  Associations  will  kill  off  the  National  body,  are  a  great  stum- 
bling-block to  the  formation  of  the  former,  which  we  are  now  experi- 
encing in  Pennsylvania.  And  it  is  therefore  of  the  utmost  importance 
that  such  who  fear  the  downfall  of  the  National  Association  as  a  result 
of  the  success  of  State  Associations,  become  disabused  of  such  an  idea. 
Not  only  do  the  Constitution  and  By-Laws  of  the  respective  National 
and  State  bodies  encourage  their  co  existence,  and  contain  reciprocal 
provisions,  and  thus  refute  this  supposed  antagonism,  but  in  their  very 
nature  following  the  same  great  objects  must  strengthen  each  other. 
Generally  a  Supreme  body  is  the  outgrowth  of  subordidate  bodies  com- 
bined by  representatives,  through  which  a  very  intimate  co-existence 
results.  Our  Supreme  body  sprang  into  existence  first,  and  gradually 
the  subordinate  bodies  are  following.  We  are  building  downwards,  and 
are  yet  lacking  that  intimacy  which  will  insure  a  permanency  of  the 
necessary  relationship  between  the  Supreme  and  subordinate  bodies. 
To  establish  such  relationship  between  our  National  and  State  Associa- 
tions would  be  my  first  plan,  whereby  the  latter  would  have  representa- 
tion in  the  former,  with  the  usual  taxation  for  the  benefit  of  the  higher 
body.  If,  however,  the  present  relationship  is  to  be  continued,  I  would 
strongly  advocate  as  my  second  plan,  as  has  been  already  suggested  by 
others,  that  the  National  Association  hold  its  meetings  every  two  years, 
to  alternate  with  the  meetings  of  the  State  Associations,  which  are  also 
to  take  place  every  two  years.  This  arrangement  will  have  many 
advantages  for  individuals  which  it  will  not  be  necessary  to  enumerate, 
and  above  all  will  take  away  any  pretext  for  partisanship  now  unneces- 
sarily prevalent.  The  co-existence  of  the  two  organizations  will  be 
assured,  and  our  art  thereby  greatly  benefited  by  the  resulting  increase 
in  the  work  for  its  advancement.  .  A  flourishing  Music  Teachers'  Asso- 
ciation in  every  State  of  the  Union  would  give  such  an  impetus  to  the 
cause  of  Music,  that  it  would  place  the  National  Association  upon  a  firm 
and  lasting  basis.  I  suggest  the  calling  of  a  Convention  of  representa- 
tives of  the  National  Association,  existing  State  Associations  and  repre- 


SUPPLEMENTARY  ESSAY— DISCUSSION. 


133 


sentative  music  teachers  from  States  having  no  association,  for  the  pur- 
pose of  maturing  a  broad  scheme  of  reconstruction  of  the  relationship 
between  the  bodies,  whereby  all  objections  can  be  met  and  permanent 
co-existence  secured.  All  narrowness  and  sectional  exclusiveness  must 
vanish,  and  a  broadness  and  reciprocity  take  their  places  for  the  one 
great  purpose  of  all,  the  greatest  possible  advancement  of  the  cause  and 
art  of  Music. 


ELEMENTS  OF  SUCCESS  PERTAINING  TO  MU~ 
SICAL  INSTRUCTION  IN  PUBLIC  SCHOOLS. 


BY  BENJAMIN  JEPSON,  OF  NEW  HAVEN,  CONN. 

The  country  we  call  the  United  States,  in  which  we  live,  is  so  new 
as  compared  with  the  countries  of  Europe,  that,  while  our  civilization 
has  advanced  at  a  more  rapid  rate  than  that  of  any  other  nation,  and 
our  progress  is  the  wonder  and  admiration  of  the  world,  at  the  same 
time  we  have  not  had  time  to  cultivate  the  finer  arts  of  life  that  give  the 
finishing  beauty  to  the  social  life  of  Europe,  and  which  are  embodied 
in  the  one  word, — culture.  It  is  an  old  saying,  that  "  He  who  can  write 
the  songs  of  the  people  can  determine  its  institutions."  I  would  go  fur- 
ther than  that,  and  say  that  he  who  can  teach  the  youth  of  a  nation  to 
understand  music,  and  to  make  it  as  natural  to  them  as  is  the  language 
they  speak,  does  more  for  the  civilization  of  that  nation  than  can  be 
done  in  any  other  way. 

American  educational  institutions,  in  so  far  as  our  common  school 
system  is  concerned,  have  long  since  passed  the  era  of  the  "three  Rs." 
The  times  demand  more  of  our  instructors;  our  children  have  a  right  to 
demand  more,  for,  in  the  onward  and  upward  advancement  that  has 
characterized  this  country,  our  children  are  emphatically  "the  heirs  of 
all  the  ages  in  the  foremost  ranks  of  time."  If  our  children  are  taught 
to  read  music  as  they  are  taught  to  read  anything  else,  they  will  grow 
into  an  enthusiastic  love  for  it,  and  if  nature  has  not  gifted  them  with 
voices,  it  will  have  given  them  deft  fingers,  that  can  evoke  from  the 
various  instruments  such  sweetness  as  will  make  joyful  music  in  their 
homes. 

If  childhood  is  the  time,  most  assuredly  the  public  schools  are  the 
place  in  which  to  lay  the  foundations  of  an  education,  be  it  musical  or  oth- 
erwise. Without  doubt  the  outlook  for  musical  progress  in  this  country 
is  more  favorable  at  the  present  time  than  ever  before,  and  yet  as  musi- 
cians, we  know  that  the  public  appreciation  of  good  music  is  an  uncer- 
tain quantity,  and  fickle  at  best.  In  reference  to  musical  instruction  in 
public  schools,  it  is  a  difficult  matter,  in  communities  where  the  subject 
is  entirely  new,  to  create  a  sentiment  in  its  favor,  especially  if  it  is  to  be 
taught  and  paid  for  as  other  branches  are.  In  many  places  those  wha 
support  the  schools  look  upon  music  as  a  talent  or  an  acquirement  that 
is  possible  only  to  the  few,  and  to  bfr  maintained,  therefore,  only  as 
political  or  financial  expediency  may  dictate.  I  regret  to  say  that  in  this- 
matter  the  musical  profession  itself  is  no*  wholly  blameless.  In  all  public 
enterprises  the  public  is  largely  influenced  by  the  attitude  of  those  who  ar& 


MUSICAL  INSTRUCTION  IN  PUBLIC  SCHOOLS. 


135 


supposed  to  be  the  most  interested.  The  success  of  our  colleges,  schools, 
piiblic  charities,  military  establishments,  etc.,  etc.,  is  due  in  great  meas- 
ure to  the  tireless  zeal  of  those  who  best  understand  their  value  and 
importance.  The  musical  fraternity  should  be  first  of  all  to  recognize 
the  importance  of  implanting  in  the  minds  of  the  children  a  knowledge 
of  music  as  thorough  as  are  the  principles  of  English  grammar  or  of  ele- 
mentary mathematics.  Moreover,  if  viewed  from  a  selfish  standpoint, 
in  what  better  way  can  music  teachers,  music  dealers,  musical  conduct- 
ors, and  manufacturers  of  instruments  generally,  subserve  their  own 
interests  than  by  giving  their  heartiest  support  to  the  plan  of  musical 
instruction  in  public  schools?  If  I  may  be  allowed  to  quote  my  own 
experience  I  will  say  that  in  New  Haven,  where  I  have  been  honored 
with  the  public  confidence  as  Supervisor  of  Music  for  twenty-five  years 
past,  the  outside  music  teachers,  and  agents  of  every  department  of 
musical  industry,  have  acknowledged  to  me  over  and  over  again  their 
indebtedness  for  success  as  a  result  of  musical  instruction  in  the  schools. 

The  public  has  ever  been  willing  to  disburse  liberally  for  the  privi- 
lege of  hearing  good  music,  whether  foreign  or  domestic,  but  it  is  not 
yet  sufiiciently  alive  to  the  fact  that  a  good  article  of  home  manufacture 
may  be  had  with  a  limited  outlay.  If  a  very  small  proportion  of  the 
money  expended  in  supporting  foreign  opera  companies,  foreign  orches- 
tras, foreign  singers  and  players  of  all  degrees  of  excellence,  were  appro- 
priated to  the  maintenance  of  sound  musical  instruction  in  the  schools 
for  a  single  generation  only,  good  music  of  the  domestic  brand  would 
fully  supply  all  the  demands  of  a  music-loving  people.  The  public  must 
be  made  to  realize  that  musical  proficiency,  like  perfection  in  any  other 
calling  is  a  growth,  and  can  be  obtained  only  in  the  natural  way.  If 
skillful  mechanics  are  required,  boys  are  educated  in  the  use  of  tools. 
The  vast  army  of  agriculturists  are  recruited  from  the  boys  on  the  farm. 
The  school-ship  supplies  the  Footes  and  the  Farraguts  of  the  navy. 
The  cadets  at  West  Point  become  the  heroes  of  the  civil  war,  and  so  on 
ad  infinitum.  No  one  doubts  that,  with  corresponding  attention  given  to 
the  musical  education  of  the  young,  the  great  artists  of  the  future  will 
be  the  boys  and  girls  in  the  primary  schools  of  to-day.  It  may  be  said 
that  artists  are  "born,  not  made."  It  is  equally  true  that  thousands  of 
embryo  artists  die  for  lack  of  proper  cultivation. 

Let  us  now  inquire  what  are  the  elements  of  success  in  this  great  work? 
It  is  a  trite  saying,  and  one  worthy  of  all  acceptation,  that  "nothing 
succeeds  like  success."  The  only  question  is  how  to  succeed.  The  first 
and  chief  element  of  success  in  public  school  work  (as  it  seems  to  me)  is 
a  good  teacher.  It  is  no  disparagement  to  say  that  not  all  good  musi- 
cians make  good  teachers,  more  especially  in  the  training  of  children. 
The  public  school  music  teacher  should  have  some  of  the  qualities  of  a 
general  in  knowing  how  to  organize.  In  the  exercise  of  patience  he 
should  be  a  veritable  Job.  He  should  possess  supreme  tact  in  manage- 
ment. He  should  know  how  to  put  away  discomfiture  and  conceal  dis- 
gust.   He  should  be  able  to  inspire  his  class  with  enthusiasm.  He 


136 


MUSIC  teachers'  national  association. 


should  be  fertile  in  devices  for  securing  and  holding  the  attention  of 
children.  He  should  have  no  vinegar  in  his  composition,  on  the  con- 
trary he  should  be  the  embodiment  of  cheerfulness  and  never  show  signs 
of  weariness.  In  addition  to  all  these  accomplishments  he  should  have 
some  knowledge  of  music.  Most  important  of  all,  he  should  have  a 
cuticle  tough  enough  to  withstand  any  amount  of  public  castigation. 
Ladies  and  gentlemen,  I  trust  you  will  not  suspect  that  your  speaker  is 
posing  as  a  model.  I  only  wish  that  I  may  be  able  to  approximate  my 
own  ideal.  It  is  quite  possible,  however,  that  a  long  period  of  public 
service  has  supplied  me  with  the  requisite  strength  of  cuticle. 

The  great  mistake  is  oft  times  made  of  employing  artists  whose  great 
forte  lies  in  their  ability  to  interpret  music,  not  to  teach  it.  The  most 
profound  in  knowledge  are  frequently  the  least  capable  of  imparting  the 
same  to  others.  The  ability  to  teach,  and  the  ability  to  interpret,  rarely 
inheres  in  the  same  person;  in  fact,  it  is  somewhat  dangerous  to  possess 
both  qualifications.  In  a  few  instances  which  have  come  under  my  own 
observation,  the  artist  has  captured  the  teacher,  and  ignominious  failure 
in  the  school-room  has  been  the  result.  In  all  the  relations  of  life,  the 
straight  and  narrow  path  of  duty  is  a  most  difficult  one  to  follow.  It  is 
hard  to  resist  the  solicitations  of  parent  or  pupils  for  a  piece  to  play,  or 
a  song  to  sing.  Moreover,  it  is  much  easier  to  float  with  the  current  of 
popularity  than  to  swim  against  the  tide.  We  know  that  teachers  of  all 
grades,  both  public  and  private,  are  amenable  to  these  charges,  with 
this  difierence,  however,  that  the  indolence  and  misdeeds  of  the  private 
teacher  are  kept  in  the  dark,  whereas  with  the  public  school  teachers, 
the  "sunlight  of  publicity"  is  ever  blazing  upon  us. 

To  my  fellow-teachers  in  public  school  work,  I  would  say,  ours  is  a 
profession  by  itself,  with  possibilities  extending  far  beyond  our  imme- 
diate vision.  Our  pupils  are  as  a  thousand  to  one  of  those  in  any  other 
department  of  musical  instruction;  we  may,  therefore,  take  comfort  in 
the  assurance  of  a  large  opportunity.  If  we  cannot  be  great  in  the  inter- 
pretation of  music,  we  can  and  may  be  great  in  moulding  the  material  of 
the  sublime  future,  and  in  laying  the  foundation  of  a  musical  super- 
structure in  this  fair  land  of  ours,  which  shall  be  the  admiration  of  the 
nations.  No  one  here  believes  that  our  country  is  destined  always  to 
follow.  The  time  is  coming,  and  is  not  far  distant,  when  in  music,  as  in 
everything  else,  America  will  set  patterns  for  the  world. 

It  is  not  doubted  that  all  music  teachers  have  the  same  grand  object 
in  view;  opinions  differ  widely,  however,  in  reference  to  the  things  to 
be  taught,  as  also  in  the  manner  of  teaching  them.  My  own  views  are 
radically  different  from  those  of  many  who  have  an  interest  in  public 
school  work.  It  may  not  be  surprising  if,  in  oft-repeated  discussion  on 
these  points,  I  am  liable  to  repeat  myself. 

The  popular  idea  of  music  in  schools  is,  and  has  been,  its  use  as  a 
recreation  to  relieve  the  tedium  of  study,  otherwise  to  tickle  the  ears  of 
parents  and  school  committees.  For  a  quarter  of  a  century  I  have  been 
combating  this  idea.    My  contention  has  been  mainly  with  theorists  not 


MUSICAL  INSTRUCTION  IN  PUBLIC  SCHOOLS. 


137 


directly  engaged  in  the  work,  whose  arguments  would  not  be  listened  to 
for  a  moment  if  applied  to  any  other  branch  of  education.  The  eyes  of 
the  public  are  being  gradually  opened  to  the  condition  of  things  which 
has  hitherto  prevailed  in  the  schools,  and  it  affords  solid  satisfaction  to 
the  advocates  of  the  science  of  music  versus  rote-practice,  to  know  that 
public  sentiment  is  being  daily  and  hourly  enlisted  on  the  side  of  music 
as  a  study. 

Nevertheless,  much  remains  to  be  done,  and  unless  I  die  young  I 
expect  to  be  engaged  in  future  contests  for  the  opinions  which  I  enter- 
tain on  this  subject.  If  I  may  be  allowed  to  refer  to  personal  experience 
in  this  field  of  labor,  I  may  say  that  I  feel  my  position  to  be  impregnable 
in  view  of  a  vast  army  of  pupils  who  have  been  graduated  under  my  own 
eye  with  ability  at  least  to  read  the  music  which  they  sing. 

My  position  is  this:  In  music  as  in  all  other  studies,  the  ability  to 
read,  and  thereby  to  interpret  and  understand,  must  ever  be  the  first 
great  object  in  education.  The  highest  and  best  incentive  to  sing  music 
is  the  ability  to  read  music,  and  this  I  believe  to  be  the  God-given' right 
of  every  child  in  this  enlightened  republic.  If  we  would  become  a  nation 
of  singers  we  must  look  well  to  the  musical  education  of  our  children. 
"Why  is  it  that  outside  of  the  large  cities  it  is  difficult,  if  not  impossible, 
many  times,  to  bring  together  a  chorus  sufficiently  large  to  give  even  a 
tolerable  rendering  of  a  classical  composition?  Why  is  it  that  in  the 
country  at  large,  many  church  congregations  and  Sabbath- schools  are 
unable  to  sing' the  simplest  melodies  (leaving  out  the  harmonies)  until  by 
dint  of  hard  practice  the  music  has  been  fairly  stuffed  into  the  ears  of 
the  singers?  Why  is  it  that  even  in  the  large  cities,  numbering  their 
hundreds  of  thousands,  it  is  considered  a  notable  event  to  bring  together 
a  chorus  of  a  few  hundreds? 

The  choral  works  of  the  great  masters,  which  should  be  familiar  as 
household  words  to  the  music-loving  public,  are  to  the  majority  of  people 
as  unfamiliar  as  the  dead  languages.  To  say  nothing  of  thousands,  how 
many  hundreds  are  there  in  the  communities  here  represented,  who  can 
recognize  the  choruses  of  six  leading  oratorios  which  might  be  named? 
Even  the  factory  people  of  Europe  can  discount  us  in  a  test  of  this  kind.  « 
On  entering  a  large  room  in  one  of  the  potteries  of  Burslem,  England, 
my  ears  were  saluted  with  the  inspiriting  strains  of  the  "Hallelujah" 
Chorus.  The  complicated  phrases  were  mastered  without  difficulty,  and 
all  appeared  to  sing  with  the  utmost  freedom.  As  I  listened  to  that 
performance,  the  only  objection  that  I  could  offer  was  that  it  appeared 
to  be  in  opposition  to  my  opinions  of  rote  practice. 

In  the  organization  of  this  National  Association  of  music  teachers, 
it  cannot  be  too  strongly  urged  that  we  have  assumed  a  vast  responsi- 
bility. We  have  virtually  taken  upon  ourselves  the  direction  of  musical 
education  in  this  country,  and  to  us  the  public  will  naturally  look  for 
guidance  in  all  that  pertains  to  the  great  cause  which  we  represent.  If 
we  would  attain  the  highest  type  of  musical  culture  in  this  country,  it 
behooves  us,  as  the  supreme  representative  body  in  music,  to  look  well 


138 


MUSIC  TEACHEKS'  ^'ATIONAL  ASSOCIATION. 


to  the  public  schools  as  the  musical  springs  of  our  public  life,  ever  keep- 
ing in  mind  that  fundamental  principle,  "The  fountain  never  rises 
higher  than  its  source.'"  Having  assumed  our  share  of  responsibility,  the 
next  question  is,  how  shaU  we  effect  desirable  reforms  in  musical 
instruction?  Surely  not  by  indorsing  or  catering  to  the  poll  parrot 
method  of  music  which  has  been  and  still  continues  to  be  the  bane  of  all 
musical  progress  wherever  practiced. 

Whatsoever  ye  sow,  that  shall  ye  also  reap,"  is  not  only  scriptural' 
but  it  is  also  good  common  sense.  Methods  of  rote  practice  cannot  fail  to 
produce  communities  of  rote  singers.  It  is  by  no  means  unusual  to  hear 
it  remarked  of  good  vocalists,  They  cannot  read  the  music  they  sing." 
It  is  quite  probable  that  those  of  you  who  have  been  entrusted  with  the 
organization  and  direction  of  singers,  can  each  relate  some  bitter  expe- 
rience in  corroboration  of  this  statement.  In  this  connection,  permit  me 
to  say  that  I  do  not  have  reference  to  those  primary  methods  inculcated 
by  our  worthy  leader  and  philosopher  in  music,  Mr.  L.  W  Mason.  Of 
that  gentleman  I  take  pleasure  in  saying  that  I  regard  him  as  the  real  orig- 
inal Jacobs  of  the  public  school  music  in  this  country,  and  one  to  whom 
the  musical  world  are  under  many  obligations.  TThile  not  agreeing  per- 
fectly with  Brother  Mason,  I  believe  that  a  certain  amount  of  rote  prac- 
tice is  necessary  and  indispensable  as  a  basis  of  instruction  in  the  lowest 
primary  rooms.  I  do  not  hesitate,  however,  to  denounce  those  senseless 
and  brainless  methods  which  would  permanently  substitute  song-singing 
for  the  elements  of  musical  notation.  Public  school  instruction  cannot 
be  solely  adapted  to  the  capabilities  of  children  with  phenomenal  voices, 
or  who  have  inherited  a  natural  talent  for  music  :  but,  on  the  contrary, 
must  be  made  applicable  to  aU  conditions,  races  and  creeds,  from  lowest 
to  highest.  It  cannot  be  expected  that  the  public  school  instructor 
will  turn  out  finished  artists.  The  very  best  he  can  do  is  to  supply  mate- 
rial to  be  moulded  and  fashioned  by  the  profession  at  large.  It  must  be 
remembered  that  his  pupils  are  numbered  by  thousands  and  tens  of  thou- 
sands, and  if  the  whole  mass  is  to  be  educated  in  the  elements  of  music, 
it  must  be  in  the  most  practical  way. 

In  music,  as  in  all  other  branches  of  our  graded  system  of  schools, 
the  most  successful  results  are  accomplished  by  daily  drill.  This,  of 
course,  would  be  impossible  to  the  special  instructor  in  a  school  district 
of  any  size.  The  method  of  instruction  which  divides  responsibility  with 
the  regular  teacher  has  been  found  to  be  the  best  way  to  insure  success. 
It  also  furnishes  an  additional  reason  why  too  much  should  not  be  at- 
tempted. By  this  plan  the  regular  teacher  becomes  interested  in  the  pro- 
gress of  his  pupils,  and  when  it  is  remembered  that  the  authority  and  in 
fluence  of  the  regular  teacher  is  potent  in  his  or  her  own  class,  it  cannot 
be  doubted  that  working  in  harmony  with  the  special  instructor  success 
is  assured.  It  has  been  objected  that  all  regular  teachers  are  not  gifted 
with  natural  qualifications  for  the  work.  In  my  own  experience  this  has 
been  of  rare  occurrence.  As  a  matter  of  fact,  some  of  the  most  success- 
ful teachers  under  my  supervision  are  those  who  cannot  sing  at  all ;  but. 


MUSICAL  INSTRUCTION  IN  PUBLIC  SCHOOLS. 


139 


being  well-versed  in  the  theory  of  musical  notation,  and  possessing  a 
teacher's  tact,  they  are  enabled  to  make  others  do  what  they  cannot  do 
themselves. 

In  the  lowest  primary  rooms,  where  the  children  learn  by  imitation, 
the  voice  of  the  teacher  is  necessary,  of  course,  in  giving  out  musical 
cadences,  but  even  here  disqualifications  may  be  overcome  by  an  ex- 
change of  recitations  with  the  teacher  of  some  adjoining  room. 

If  I  am  asked  where  systematic  instruction  in  mu»ic  should  begin,  I 
can  only  reiterate  what  I  have  often  said  in  public  before.  "  Let  musical 
instruction  begin  in  the  lowest  primary  rooms  on  the  first  day  of  the  first 
week  in  the  school."  In  music,  as  in  everything  else,  the  foundation 
must  be  laid  before  the  superstructure  is  built.  To  begin  musical  instruc 
tion  in  upper  grades,  is  only  another  instance  of  building  from  the  top 
down.  I  would  emphasize  the  principle  that  the  bed-rock  of  all  ele- 
mentary instruction  is  found  in  the  lowest  primary  grades.  To  any  who 
may  be  skeptical  as  to  what  may  be  thus  accomplished,  I  can  only  give 
the  results  of  experience.  Little  children  of  the  lowest  grade,  with  fif- 
teen minutes'  drill  per  day  by  the  regular  teacher,  are  enabled,  at  the 
end  of  the  first  year,  to  sing  at  sight  any  exercise  in  the  key  of  C  which 
may  be  written  within  the  limits  of  the  scale  and  without  intervals.  To 
those  unfamiliar  with  the  work,  I  will  say  that,  with  the  best  methods 
devised,  primary  children  learn  to  read  notes  long  before  they  learn  to 
read  words,  and  this  they  do  with  fifteen  minutes  per  day  given  to  note- 
reading,  as  against  one  hour,  more  or  less,  per  day  given  to  the  other 
kind  of  reading.  More  could  not  be  expected.  It  may  be  further  stated 
that  in  all  properly  graded  courses  the  pupils  of  each  succeeding  room 
are  also  enabled'  to  read  at  sight  any  exercise  appropriate  to  their  grade 
of  insiruction.  It  is  not  within  the  scope  of  my  intentions  at  this  time 
to  describe  the  modus  operandi,  but  I  am  sure  that  progressive  instructors 
will  be  at  all  times  ready  to  vindicate  this  statement. 

I  have  said  much  in  this  paper  in  opposition  to  rote  practice  as  a 
basis  of  musical  instruction.  Much,  however,  can  be  said  in  its  favor,  if 
considered  as  a  recreation  or  from  a  sentimental  point  of  view.  Through 
the  instrumentality  of  rote  songs  many  lessons  in  loyalty,  reverence,  obe- 
dience, filial  affection  and  the  other  virtues  may  be  taught,  which,  if  with- 
held until  children  can  actually  read  music,  might  never  be  learned. 
Thus  considered,  rote  singing  becomes  a  legitimate  part  of  school  work^ 
and  may  be  indulged  in  throughout  the  lower  grades,  or,  as  in  my  own 
schools,  until  the  children  commence  the  practice  of  two-part  music. 
But,  keep  the  song  subordinated  to  the  study,  and  let  no  conscientious 
teacher  charge  up  the  number  of  songs  learned  as  so  much  to  the  credit 
of  musical  knowledge.  In  a  word,  let  it  be  always  understood  that  recre- 
ation in  music  may  follow  study  in  music.  Under  no  consideration 
should  the  time  for  elementary  drill  be  encroached  upon.  Let  the  two 
kinds  of  practice  be  considered  apart.  If  the  time  for  song  practice 
should  be  limited,  I  would  discrimitate  in  favor  of  National  songs.  Let 


140 


MUSIC  teachers'  national  association. 


the  children  be  early  imbued  with  sentiments  of  loyalty  by  the  practice 
of  patriotic  music. 

If  I  might  be  allowed  just  one  little  sentiment  of  spread-eagleism  on 
this  glorious  anniversary  of  our  National  Independence,  I  would  say 
that,  as  heirs  of  the  grandest  inheritance  ever  bequeathed  to  man,  we 
have  a  duty  to  perform,  not  only  as  teachers,  but  as  American  citizens. 
Within  a  short  time  past  the  Grand  Army  of  the  Republic  in  different 
parts  of  the  country  have^inaugurated  the  beautiful  custom  of  presenting 
flags  to  the  schools.  I  learn  from  Mrs.  Thomas  (who,  by  the  way,  deserves 
a  passing  compliment  for  the  good  work  she  is  doing  in  Detroit),  that  she 
furnished  the  music  for  no  less  than  forty  flag  presentations  during  the 
past  year.  While  expressing  a  hope  that  this  custom  may  continue,  I  also 
desire  to  express  a  profound  conviction  that,  as  public  school  teachers, 
we  have  a  duty  to  perform  in  educating  the  children  to  love,  revere  and 
defend  the  flag,  with  all  that  it  represents. 

Fellow-teachers,  you  will  agree  with  me  that  this  desirable  result 
can  be  obtained  in  no  better  way  than  by  the  regular  practice  of  our  na- 
tional songs.  Let  me  urge,  then,  that  at  the  proper  time,  whether  by 
rote  or  by  note,  this  practice  of  our  national  airs  shall  commence  and 
continue  in  every  grade,  from  the  primary  to  the  high-school — all  this, 
believe  me,  without  abating  one  jot  or  tittle  from  my  previous  argument. 

And,  now,  a  word  in  reference  to  the  use  and  abuse  of  children's 
voices.  Thers  is  something  enthusing  in  a  loud  chorus,  which  teachers 
are  too  apt  to  permit.  The  daily  practice  of  loud  singing  eventually 
leads  to  harsh  singing.  This  fault  is  more  liable  to  occur  in  the  practice 
of  songs  than  in  the  singing  of  exercises,  as  the  former  are  more  exhile- 
Tating  than  the  latter,  and  are  not  infrequently  permitted  simply  to  occu- 
py the  time.  A  practice  which  calls  for  the  severest  criticism  is  that  of 
some  of  the  regular  teachers  who  "wind  up"  their  classes  (so  to  speak), 
and  then  set  them  running  without  let  or  hindrance  to  the  end  of  the 
song — the  longer  the  better,  as  it  affords  opportunity  to  attend  to  other 
matters  while  the  children  continue  the  so-called  singing. 

It  is  not  well  to  go  into  the  technicalities  of  vocal  culture,  especially 
if  it  be  at  the  expense  of  those  elementary  principles  which  can  be  best 
learned  in  childhood,  and  which  are  essential  in  forming  a  basis  for  all 
musical  knowledge.  How  absurd  these  methods  seem,  if  applied  to  any 
other  branch  of  education,  and  yet,  with  equal  propriety,  it  might  be 
claimed  that  to  practice  the  art  of  oratory,  or  to  memorize  poetry  and 
prose,  would  be  the  proper  way  to  teach  little  children  how  to  read,  Child- 
ren sing  as  sweetly  and  as  naturally  as  birds,  if  properly  restrained.  Be- 
fore singing  a  phrase,  let  it  be  long  or  short,  let  the  class  be  cautioned  in 
reference  to  the  quality  and  volume  of  tone.  To  avoid  strain  of  voice 
great  care  should  be  exercised  by  the  teacher  in  not  pitching  the  exercise 
too  high  or  too  low.  To  insure  accuracy  in  this  matter  every  teacher,  in 
the  absence  of  an  instrument,  should  be  equipped  with  a  tuning-fork  or 
pitch-pipe.  In  reference  to  vocal  culture,  it  may  be  said  that  children 
learn  most  by  imitation.    Not  one  child  in  a  hundred  will  fail  correctly 


MUSICAL  INSTRUCTION  IN  PUBLIC  SCHOOLS. 


141 


the  first  time  to  imitate  a  loud  tone,  a  soft  tone,  a  sweet  tone,  or  a  harsh 
tone.  On  the  other  hand,  scarcely  one  in  a  hundred  will  succeed  the 
first  time  in  giving  the  required  tone  when  hampered  by  technical  ex- 
planations. On  the  whole, 'twere  better,  far,  perhaps,  that  children  should 
sing  in  blissful  ignorance  that  they  have  such  things  as  vocal  chords,  dia- 
phragms, abdominal  muscles,  etc.  All  that  is  needed  in  this  respect  is  a 
few  common-sense  rules  in  reference  to  erect  position,  full  breath  and 
sweet  tone;  such  as  will  suggest  themselves  to  any  competent  teacher. 
In  the  exercise  of  these  suggestions  no  school  need  ever  fail  to  have 
sweet  singing. 

An  essential  element  of  success,  and  one  which  I  deem  of  the  last 
importance  in  the  study  of  music,  is  periodical  examinations.  What 
sort  of  business  is  that  which  never  takes  account  of  stock?  What  sort  of 
supervision  is  that  in  any  department  of  industry  which  makes  no  pro- 
vision for  inspection  of  some  sort?  By  periodical  examinations  in  music, 
I  do  not  mean  a  wordy  display  of  theoretical  knowledge.  I  have  more 
particular  reference  to  regular  tests  in  sight-reading.  How  often  have 
we  seen  classes,  apparently  well-versed  in  theory,  who  could  answer  all 
questions  put  to  them,  and  yet  failed  to  read  a  simple  exercise  at  sight  ? 
How  often,  too— and  I  am  ashamed  to  acknowledge  it — have  we  seen 
music  teachers  shrink  from  the  sight-singing  test?  This,  to  my  mind,  ig 
a  serious  evidence  of  ineflaciency.  A  teacher,  doing  honest  work,  is  at 
all  times  ready  for  inspection. 

In  conclusion,  ladies  and  gentlemen,  permit  me  to  thank  you  for  your 
patience  in  listening  to  my  rambling  remarks.  I  would  also  express  my 
obligations  for  the  honor  conferred  in  being  invited  to  address  you. 
Conscious  of  my  inability  to  instruct  a  representative  body  like  this,I  am, 
nevertheless,  glad  that  I  have  been  enabled  once  and  again  to  respond  to 
the  summons  of  your  Program  Committee.  I  desire  to  express  the  great 
interest  which  I  feel  in  the  success  of  this  Association.  I  only  wish  that 
I  had  the  gift  to  express  all  that  lies  in  my  heart.  I  do  not  believe  that 
this  society  is  maintained,  as  has  been  charged,  for  purposes  of  mutual 
admiration.  On  the  contrary,  I  believe  that  I  voice  public  sentiment 
when  I  say  that,  all  criticism  to  the  contrary  notwithstanding,  the  M.  T. 
N.  A.  has  done,  is  still  doing,  and  will  continue  to  do  heroic  service  in 
the  promotion  of  the  art  of  music. 

Fellow-teachers  and  friends  of  the  great  cause,  if  there  is  strength 
in  unity,  let  us  test  the  old  adage.  Let  us  stand  shoulder  to  shoulder, 
not  only  in  the  aidvocacy  of  every  effort  which  has  for  its  object  the  pro- 
motion of  true  education  in  music,  but  in  the  denunciation  of  all  pre- 
tense and  sham.  Do  this,  and  I  doubt  not  that  in  the  future,  music,  aa 
an  institution  in  this  country,  will  be  elevated  to  that  commanding  posi- 
tion which,  by  divine  right,  it  should  hold  in  the  hearts  of  the  people. 


MUSIC  IN  PUBLIC  SCHOOLS. 


BY  P.  M.  BACH,  OF  MILWAUKEE. 

There  is  a  growing  tendency  in  our  progressive  and  philosophic  age 
to  study  closely  the  physiological  development  of  the  brain,  and  at  the 
same  time,  combine  therewith  the  proper  and  assimilable  food  for  its 
exercise,  in  such  a  way,  that  neither  the  one  nor  the  other  shall  suffer;  and 
we  can  congratulate  ourselves  upon  the  success  that  has  already  been 
achieved  in  this  departure.  This  is  no  less  true  in  music  than  in  the 
languages  or  the  sciences. 

We  have  here  assembled  to  consider  ways  and  means  for  the  most 
advantageous  teaching  of  that  important  educational  factor,  music;  and 
before  proceeding  to  the  further  discussion  thereof,  it  is  proper  to  in- 
quire into  the  desirable  aim  of  its  teaching  in  the  common  schools,  so 
that  we  may  not  drop  into  unphilosophical,  hap-hazard  methods,  which 
have,  I  am  sorry  to  say,  pressed  themselves  before  the  public. 

We  are  to  consider  that  we  have  virgin  soil  upon  which  to  sow  our 
seed,  and  therefore  should  we  be  guarded  as  to  the  purity  of  that  seed,  if 
we  would  expect  unmarred  growth  and  fruition.  My  extensive  experience 
in  language  and  music  teaching  has  given  me  opportunity  to  observe 
methods  and  results  as  cause  and  effect,  and  I  have^arrived  at  conclusions 
which  I  beg  leave,  in  this  brief  essay,  to  present  for  your  consideration 
and  discussion, 

A  plan  of  instruction  is  only  then  truly  pedagogic,  when  it  is 
adopted  to  the  child's  age  and  requirements.  To  bring  this  more 
forcibly  before  ourselves,  let  us  glance  at  the  process  of  evolution  that 
takes  place  in  the  child's  mind  from  its  infancy  to  more  mature  develop- 
ment. Physiology  demonstrates  that  a  child's  brain  at  birth  is  com- 
posed of  cells  still  undeveloped  in  their  functions,  yet,  by  heridity,  have 
a  latent  capacity.  As  this  child  grows  older,  and  impressions  are  made 
upon  the  brain,  through  the  medium  of  special  senses,  these  cells  begin 
to  develop  and  become  capable  of  independent  thought  and  action. 

A  very  interesting  illustration  in  support  of  the  development  of 
relative  thought  and  brain  action  can  be  made  with  an  infant,  by  placing 
an  ordinary  light  before  it,  which,  being  a  strong  excitant,  will  soon 
attract  its  attention.  The  idea  of  light  once  developed,  relative  develop- 
ment thereof  goes  on  very  rapidly.  If  we  now  take  lights  of  various 
colors,  green,  red,  blue,  etc.,  the  babe,  though  not  many  days  old,  will 
see  them  as  lights,  yet  appreciate  their  differences,  as  its  eyes  restlessly 
wander  from  one  to  another,  clearly  showing  an  inductive  development 
in  the  recognition  of  light  and  its  modifications.  Other  objects  not 
appealing  to  the  light  center,  remain  unnoticed,  being  abstract.  Similar 
observations  can  be  made  in  the  development  of  the  sense  of  hearing,  or 


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143 


any  special  sense.  It  will  be  observed  that  this  development  can  only  go 
on  in  those  sections  of  the  brain  upon  which  impressions  are  made. 
Phrenologists  and  their  science  rely  upon  this  fact,  and  well  understand 
its  importance.  Thus  it  is  that  a  child,  brought  up  in  the  counting  room 
is  likely  to  develop  extraordinary  ability  in  the  grasping  of  numbers. 
This  development  goes  on  in  the  various  cerebral  sections,  and  in  order 
to  remain  inductive  it  should  not  start  from  different  points  in  the  same 
section,  but  from  a  single  nucleus,  and  spread  to  the  cells  in  its 
immediate  vicinity,  going  from  the  known  to  the  nearest  unknown,  until 
both  become  axiomatic. 

If  it  were  that  this  development  took  place  from  various  points  of 
the  same  section,  we  would  have  a  series  of  abstract  ideas  having  no 
relation  with  each  other,  as  is  shown  in  injuries  of  the  brain,  when  rela- 
tions, once  clearly  formed,  have  been  broken  by  the  fracture  of  the  con- 
necting links  in  the  same  section. 

This  is  an  interesting  fact,  and  has  a  direct  bearing  on  the  subject 
matter  in  hand.  Let  us  now  see  what  use  we  can  make  of  it  in  its  educa- 
tional aspect.  Deductions  from  the  above  clearly  show  that,  to  work 
most  profitably  we  have  to  do  so  inductively,  that  is,  begin  with  some 
intrinsic  unit  of  thought,  and  branch  out  by  degrees  in  all  directions, 
from  the  known  to  the  unknown,  avoiding  abstract  ideas,  or  in  other 
words,  development  of  new  centers  in  the  same  cerebral  section,  until,  if 
desirable,  it  covers  the  whole  field  of  instruction.  In  this  manner 
nothing  will  ever  seem  abstract,  since  it  proceeds  from  one  center  of 
development,  and  the  child  will  always  have  a  certain  amount  of  posi- 
tive, practical  knowledge,  no  matter  in  what  stage  of  its  course  it  may 
be  interrupted. 

Let  us  now  make  direct  application  of  the  foregoing  to  the  teaching 
of  music.  We  here  have  to  deal  with  the  development  of  that  section 
of  the  brain  which  receives  its  impressions  through  the  special  sense  of 
hearing.  But  now  comes  a  question  which  has  been  so  variously 
answered,  and,  as  there  is  but  one  truth,  so  can  there  be  only  one  correct 
answer.  How  must  we  proceed,  and  what  shall  we  consider  the  intrinsic 
unit,  or  initial  step,  in  the  musical  development  of  the  hearing  center? 
How  is  it  possible  that  the  arbitrary  scale  and  incomplete,  vague  musical 
exercises  are  advocated  as  this  initial  step  ?  Are  those  things  music,  or 
only  the  natural  outcrops  of  the  subject  music,  and  therefore  must  they 
not  remain  secondary  thereto  ? 

Pope  says:  "The  proper  study  of  mankind  is  man."  So,  in  music, 
its  study  should  be  music.  We  must  have  a  purely  musical  idea  upon 
which  to  broaden,  leading  the  child's  mind  to  grow  and  develop  by  giv- 
ing it  musical  nourishment  from  the  inexhaustible  stores  left  by  the 
masters  of  school  music. 

A  very  general  mistake  in  teaching  singing  to  young  children,  is 
giving  instruction  in  notation  without  this  necessary  preparation  through 
a  systematic  course  in  rote-singing  and  the  recognition  of  complete 
musical  forms  by  ear.   First  of  all,  the  child  should  learn  to  listen,  then 


144 


MUSIC  TEACHERS    NATIONAL  ASSOCIATION. 


to  imitate,  It  is  not  in  accordance  with  the  nature  of  the  child's  mind 
to  present  objects  analytically.  Before  explaining  the  parts  that  consti- 
tute them,  we  should  familiarize  the  child  with  their  forms  as  wholes. 
To  know  the  reality  before  learning  the  formula  is  a  universal  rule  of 
elementary  instruction.  As  the  idea  and  use  of  numbers  are  taught 
before  notation,  and  practical  language  before  reading,  so  should  the 
practical  of  learning  and  singing  tunes,  or  complete  musical  forms,  by 
imitation,  from  good  models,  precede  the  study  of  musical  notation. 
Indeed,  all  successful  instruction  in  our  primary  departments  is  based 
largely  upon  the  rote  principle,  after  the  adage,  "Repetition  (rote)  is  the 
mother  of  perfection."  This  precludes  the  modern  acceptation  of  the 
term  "rote"  for  hap -hazard.  When  we  see  a  pupil  of  an  advanced 
class  counting  on  his  fingers  while  ciphering,  the  lack  of  proper  rote- 
training  in  connection  with  objects,  in  his  early  years,  is  strikingly  appa- 
rent. The  same  may  be  said  of  his  former  instruction  in  reading,  when 
we  hear  him  plodding  along  instead  of  grasping  a  phrase,  or  even  a. 
whole  sentence  at  sight. 

It  is  true  that  the  amount  of  intelligence  required  in  singing  by  rote 
is  limited,  yet  it  is  all  that  a  child  at  this  stage  is  capable  of  exercising^ 
'  profitably,  and  if  properly  directed  we  can,  through  this  avenue,  form 
correct  and  permanent  habits  of  thought  and  expression  in  music 

The  force  of  habit  is  an  important  educational  factor  and  should  not 
be  under-rated  in  its  influence  over  little  children,  whether  properly  or 
otherwise  directed.  To  teach  them  at  the  very  outstart  the  unmusical 
scale  as  the  musical  "unit  of  thought,"  as  well  as  the  dry  elements,  pro- 
miscuous skips,  and  incomplete  or  unbalanced  exercises  from  notation, 
though  with  apparent  success  in  the  hands  of  the  expert,  is  far  from 
developing  a  primary  musical  thought,  or  a  desirable  habit. 

Why,  then,  should  we  run  the  risk  of  losing  all  that  can  be  gained 
through  the  force  of  habit,  by  teaching  subjects  as  they  ought  to  be  pre- 
sented to  mature  minds  only  ?  Moreover,  many  of  the  essentials  in 
music,  that  can  be  readily  acquired  by  this  powerful  agent,  habit,  are  for 
more  important  and  difficult  than  the  mere  singing  of  notes  from  the 
staff — a  fact  that  seems  to  have  been  lost  sight  of  by  certain  enthusiasts. 
This  much  vaunted  sight- singing,  although  necessary  in  its  proper  place, 
is  after  all  only  of  secondary  importance,  as  far  as  the  sum  and  substance 
of  music  are  concerned;  it  is  rather  a  matter  of  record  and  convenience 
than  the  reality.  A  good  musician  may  easily  become  a  proficient  sight- 
singer  but  let  the  sight-singer  be  ever  so  skilled,  unless  he  has  formed 
proper  habits  in  expression,  by  imitating  good  models,  he  will  hardly 
become  a  good  musician.  Even  more  in  singing  than  in  reading  does 
expression  form  the  essential  feature,  since  the  conveyance  of  musical 
thought  and  feeling  is  entirely  dependent  upon  it.  Teachers  of  reading 
will  agree  with  me  that  the  ability  to  pronounce  words  at  sight  is  by  no 
means  the  only  requisite  of  a  good  reader  ;  the  interpretation  of  the  sub- 
ject by  the  correct  expression  of  those  words  forms  an  important  factor^ 
as  words  without  expression  may  convey  no  meaning  at  all,  or  an, 


MUSIC  IN  PUBLIC  SCHOOLS. 


145 


erroneous  one  ;  whereas  expression,  even  without  words,  often  becomes 
the  vehicle  of  ideas.  Sometime  ago  a  well-known  French  actress,  in  the 
city  of  New  York,  performed  her  role  in  one  of  kShakespeare's  plays  in 
the  French  language  before  an  American  audience,  her  expression  being 
so  perfect  that  she  was  understood,  although  but  few  knew  the  language. 
The  reason  for  my  dwelling  upon  this  subject  of  expression  at  such 
length  is  because  it  forms  the  all-important  pre-requisite,  not  only  in 
reading  and  music,  but  in  all  art-teaching. 

How  then  is  expression  acquired  ?  Dare  we  say  through  the  study  of 
technicalities  ?  Decidedly,  no.  It  is  acquired  through  vivid  imagination 
and  imitation  alone.  It  will  thus  be  seen  that  by  withholding  from  the 
young  proper  incentives  to  the  imagination  the  tender  impressible  mind 
suffers  an  irreparable  loss.  Technicalities  should  be  introduced  inci- 
dentally, reserving  the  greater  portion  of  them  until  the  child's  mind  has 
formed  proper  habits  by  imitation  and  systematic  rote  practice — were 
such  work  more  generally  and  faithfully  carried  out,  we  could  rest 
assured  that  classical  songs  without  words  would  have  some  meaning  for 
our  rising  generation. 

It  is  well  worth  our  while  to  examine  carefully  the  material  which 
we  would  have  our  children  imitate.  Students  of  the  fine  arts  go  abroad 
in  search  of  inspiration  and  the  worthiest  models  for  imitation.  While 
Europeans  look  to  American  genius  for  machinery  and  inventions,  we 
can  well  afford  to  return  the  compliment  by  looking  to  Europe  for  models 
in  art.  There  we  fiad  those  crystalized  monuments  which  have 
accumulated  for  ages  in  every  department  of  art,  especially  in  painting 
and  music.  Aside  from  the  great  masterworks  in  musical  composition, 
there  are  those  beautiful  gems  of  song,  peculiar  to  every  nation,  and 
generally  accepted  as  good  models  for  our  purpose.  Why  then  deprive 
our  children  of  the  inspiration  which  come  from  the  practice  of  songs 
and  exercises  of  pronounced  merit  ?  Why  listen  to  those  who  raise  the 
cry  that  we,  as  true  Americans,  should  encourage  home  genius  and  home 
industry  ?  We  should  encourage  genius,  but  we  must  not  stifle  art  by 
flooding  our  schools  with  an  inferior  grade  of  musical  literature. 
Genuine  American  genius  has  been  duly  recognized,  even  in  foreign 
countries,  and  we  feel  proud  to  see  the  names  of  Americans  adorn  many 
of  the  pages  in  the  best  collections  ;  but  our  school  singing  books  and 
courses  are  in  many  instances  the  product  throughout,  of  one  person, 
whose  name  is  hardly  known  to  the  musical  profession.  School  music 
should  at  all  times  hold  the  aesthetic  and  ideal  in  view,  leading  through 
the  beautiful  to  the  beautiful,  the  formal  or  technical  following  in  due 
time. 

The  foregoing  conclusions  refute  statements  that  were  made  before 
the  Teachers'  Association  of  a  neighboring  state,  and  I  feel  it  my  duty  to 
protest  against  such  statements  and  pronounce  them  unpedagogic  and  not 
based  on  reason  or  experience  : 

1.  That  all  teaching  by  imitation  is  crippling  in  its  effect. 


146 


MUSIC  teachers'  national  association. 


2.  That  rote-singing  with  little  children  is  unphilosophical  and  preju- 
dicial to  their  progress. 

3.  That  songs  and  exercises  by  American  composers  should  be  exclu- 
sively used. 

4.  That  children  in  their  singing  must  recognize  the  scale  as  the 
musical  "  unit  of  thought." 

5.  That  children  of  five  and  six  years  of  age  can  be  taught  to  read 
music  at  sight  intelligently. 

It  is  one  thing  to  read  notes,  and  another  to  read  music.  To  read 
notes  is  a  mechanical  operation,  and  means  the  singing  of  isolated  tones 
at  sight  from  notation,  without  appreciating  their  relation  to  melody  or 
harmony.  To  read  music  embraces  both  the  technical  skill  and  the  full 
comprehension  of  the  inspiration  of  the  composer,  and  the  musical 
thought  and  feeling  underlying  his  work. 

It  certainly  is  not  in  conformity  with  true  teaching  to  present  music 
synthetically  at  this  stage,  as  a  little  child  is  just  as  incapable  of  interest- 
ing itself  in  a  vague,  abstract  tone,  or  interval,  rent  asunder  from  its 
musical  connection,  as  it  is  to  comprehend  the  significance  of  the  ele- 
ments of  a  language.  Nothing  less  than  a  melodious  phrase,  wedded  to 
pleasant  childlike  words,  will  appeal  to  his  musical  sense  and  reach  his 
understanding.  We  should  therefore  acquaint  the  children  with  such 
phrases  as  are  melodious,  rhythmical,  and  simple  enough  for  their  com- 
prehension.   These  should  be  sung  responsively  with  the  teacher. 

The  study  of  music  bears  a  close  relationship  in  some  of  its  aspects 
to  that  of  a  foreign  language.  While  the  rational  method  of  language 
teaching  may  be  well  suited  to  maturer  minds,  little  children  should  be 
taught  this  subject  by  the  natural  inductive  method.  It  would  be  unwise 
to  attempt  to  teach  the  technicalities  of  the  German  language  in  the 
beginning  to  our  young  Anglo-American  pupils.  Adults  may  benefit  by 
the  application  of  rules,  if  given  in  connection  with  the  conversational 
or  rote  raethod,  but  little  children  must  Jearn  to  formulate  simple,  per- 
fect sentences  responsively,  as  they  have  learned  their  mother  tongue 
from  infancy,  after  nature's  own  plan,  that  is,  by  imitation  and  rote. 

We  must  assume  music  to  be  a  foreign  language  to  little  children 
when  they  first  enter  school,  as  but  few  of  them  are  taught  songs  or 
tunes  at  home.  It  is,  therefore,  of  the  greatest  importance  that  the  first 
musical  impressions  be  as  nearly  perfect  as  possible,  as  the  child's 
musical  ear,  feeling  and  habits  are  to  be  formed  for  life.  Nicety  of 
expression  should  be  our  constant  aim.  No  matter  how  simple  a  tune  or 
song  may  be,  we  must  make  all  we  can  out  of  it.  Therefore,  before  pre- 
senting a  new  song  or  exercise,  the  teacher  should  closely  study  its  essen- 
tial parts,  exercising  the  utmost  care,  taste  and  discrimination.  The 
improvement  of  our  own  appreciation  of  style  will  amply  repay  us  for 
all  this  trouble.  By  teaching  melodies,  however  simple,  but  complete  in 
their  rhythmical  structure,  keeping  these  prerequisites  in  view,  we  culti- 
vate in  the  children  a  love  and  interest  for  music  and  a  good  style  of 


MUSIC  IN  PUBLIC  SCHOOLS— DISCUSSION. 


147 


singing,  and  give  them  musical  forms  to  be  analyzed  later  on  in  the 
course. 

Singing  these  melodies  and  songs  with  the  music  before  them,  if  you 
please,  on  the  blackboard  or  in  their  books,  they  will  gradually  observe 
musical  forms,  and  begin  to  analyze  them  in  their  childlike  way;  names 
and  signs  appear  incidentally,  eventually  preparing  them  for  the  dis- 
covery of  the  elements  and  a  more  intelligent  kind  of  music  reading. 
Thus  the  idea  of  analysis  is  introduced  by  gradually  proceeding  from 
the  concrete  to  the  abstract,  from  objects  as  wholes  to  the  parts  that 
constitute  them,  without  destroying  the  effect  of  the  impression  made 
upon  the  minds  by  the  composition  as  a  whole. 

Songs  for  children  should  refer  to  things  that  they  like  to  think  or 
talk  about :  natural  objects  about  their  home,  the  farm,  the  forest,  the 
seasons,  and  little  stories  from  life,  or  about  animals.  In  this  way  their 
love  and  interest  for  song  and  melody  grows  with  their  physical  and 
mental  growth,  and  they  are  unconsciously  led  into  the  higher  domain  of 
tone — that  is,  musical  thought.  Having  gained  a  knowledge  of  what  is 
really  music,  tfarough  the  ear  alone  and  not  from  note,  the  child  will  feel 
his  subsequent  instruction  in  notation  to  be  real  and  substantial. 

DISCUSSION. 

Mr.  Mason:  I  will  illustrate  rote-singihg  by  a  diagram.  The  figure 
is  divided  into  three  sections.  One  section  includes  children  of  school 
age,  of  from  five  to  eight  years;  one  from  eight  to  twelve,  and  one  from 
twelve  to  sixteen  or  seventeen.  Here  is  the  period  from  infancy,  and 
covers  the  early  instruction  in  every  branch,  and  you  can  apply  it  as 
well  to  music  for  the  pupils  as  to  any  other  study.  This  is  the  propor- 
tion of  oral  to  written  instruction.  As  they  grow  older  the  oral  gradu- 
ally ceases,  and  the  written  increases.  At  the  start  everything  com- 
mences orally,  and  it  decreases  until  you  see  here  it  is  evenly  divided. 
That  illustrates  my  idea  and  my  practice  in  reference  to  this  matter  of 
rote-singing.  Any  one  in  a  room  like  this  who  seeks  to  give  the  impres- 
sion that  I,  or  any  other  gentleman  who  is  engaged  in  teaching  music  at 
this  day  by  rote,  has  something  morally  wrong  about  him. 

Again,  there  is  not  a  teacher  of  music  who  has  been  upon  this  plat- 
form, engaged  in  any  system  whatever,  that  does  not  use  rote-singing 
from  five  years  of  age  to  this  extent.  There  is  no  one  here  who  will 
stand  up  and  say  he  does  not  do  it.  Generally  those  who  talk  the  most 
against  rote-singing  use  the  most  of  it,  and  then,  besides  that,  it  continues 
all  the  way  through,  according  to  my  observation.  I  will  leave  this  dia- 
gram with  you,  as  it  expresses  better  than  I  can  in  words,  the  proportion 
of  rote-singing.  Rote-singing  can  never  be  dispensed  with,  that  is  in  a 
measure.  During  this  period  children's  ideas  of  music  have  to  be  devel- 
oped by  the  hearing.  For  successful  and  intelligent  reading,  the  chil- 
dren must  hear  a  great  deal  of  music,  and  the  more  good  music  the  chil- 
dren hear,  even  if  it  gets  into  their  nature  two  hundred  years  before  they 
are  born,  so  much  the  better.   We  never  get  beyond  the  necessity  of 


148 


MUSIC  TEACHEKfi'  NATIONAL  ASSOCIATION. 


being  stimulated  by  hearing  good  music;  music  better  than  we  can  per- 
form ourselves,  or  that  the  teacher  can  perform.  I  may  be  a  great  pla- 
giarist, I  acknowledge  it.  1  wanted  to  show  you  something  of  what  I 
had  learned  from  going  around  the  country.  I  am  a  great  rover.  I 
have  traveled  around,  and  when  I  get  through  with  my  illustrations  I  am 
going  to  tell  you  where  I  got  the  idea. 

Now,  what  is  it  to  read  at  sight,  or  what  is  it  to  be  a  musician  ?  I 
will  use  Dr.  Tuller's  definition  for  that:  "To  be  a  musician  is  to  hear 
through  the  eye,  and,  vice  versa,  to  see  through  the  ear."  I  will  now 
illustrate  that,  so  far  as  these  children  are  concerned.  I  have  never 
tested  them,  but  for  illustration  I  am  going  to  give  the  illustration  that  I 
borrowed,  and  then  I  am  going  to  put  this  matter  into  the  hands  of  the 
gentleman  from  whom  I  learned  this  trick  of  teaching.  I  am  going  to 
write  something  on  the  board,  children,  and  I  want  you  to  see  what  it  is, 
and  remember  when  I  rub  it  out  quickly. 

Mr.  Mason  then  illustrated  further  upon  the  board,  and  after  com- 
pleting it  said:  "Now,  I  will  put  this  chalk  into  the  hands  of  the  gentle- 
man from  whom  I  learned  this  trick  in  teaching,  Mr.  Stewart." 

Mr.  Stewart:  I  don't  know,  really,  boys  and  girls,  and  ladies  and 
gentlemen,  what  you  Would  like  to  have  me  do.  Perhaps  you  would 
like  to  have  me  write  some  exercises  for  you  to  sing  at  sight.  At  these 
meetings  many  teachers  and  friends  come  together  to  learn  from  one 
another.  If  I  talk  about  song  and  tones  you  don't  care,  and  you  will  not 
care,  I  suppose,  if  I  find  out  a  little  of  what  you  know. 

Mr.  Stewart  then  took  the  class  through  a  number  of  experiments  in 
sight  reading  upon  the  board. 

Mr.  Landon:  I  would  like  to  make  some  explanation  on  the  subject 
which  came  up  yesterday.  After  the  little  that  was  said  about  tonic-sol- 
fa  yesterday,  other  remarks  were  made,  and  I  would  like  to  give  an  illus- 
tration upon  the  board.  It  is  frequently  stated  in  this  way:  Tonic-sol-fa 
tells  a  singer  exactly  what  he  is  to  do  without  any  after  mental  process. 

Mr.  Mason:  So  does  the  regular  notation,  does  it  not? 

Mr.  Landon:  It  does  not;  but  if  you  have  it  on  the  staff  you  have 
two  or  three  other  things  to  know  beforehand,  you  have  to  make  a  men. 
tal  calculation  in  this  manner.  Now,  I  claim  this,  that  if  there  were  no 
other  things  to  be  considered  in  judging  of  the  Tonic-sol-fa,  that  it  is  a 
sufficient  argument  for  the  Tonic-sol-fa  notation,  because  it  tells  us 
exactly  what  we  are  to  do  under  every  circumstance.  And  this  is  the 
thing  that  has  misled  the  public  more  than  anything  else.  I  would  like 
to  reiterate  what  I  have  said  here  this  morning.  Notwithstanding  the 
sol-fa  system  has  been  killed  deader  than  a  door-nail  over  and  over  again, 
there  were  over  two  hundred  thousand  books  sold  in  the  United  States 
within  two  years.  In  1885,  in  the  State  of  New  York,  Mr.  Seward  had 
an  essay  on  Tonic-sol-fa.  It  hardly  received  an  echo  in  the  large  audi- 
ence. It  was  set  upon  from  all  sides.  But  yesterday,  when  the  Tonic- 
sol-fa  was  mentioned,  the  people  received  the  arguments,  not  with  preju- 
dice, but  were  inclined  to  look  them  over  when  a  point  was  made. 


MUSIC  IN  PUBLIC  SCHOOLS— DISCUSSION. 


149 


Mr.  Heath:  Have  we  a  chairman  of  this  meeting? 

Mr.  Mason:  I  would  like  to  ask  the  gentleman,  if  he  will  answer, 
liow  far  he  would  carry  this  Tonic-sol-fa  system  of  notation  in  the  public 
schools? 

Mr.  Stewart:  Let  me  ask  first  if  we  are  to  discuss  the  essays  that 
were  read? 

Mr.  Landon:  I  supposed  it  was  so,  and  I  supposed  that  was  what 
we  were  doing.  I  may  answer  your  question  in  a  very  few  words.  If  I 
wanted  to  train  a  mixed  class  to  learn  staff  notation,  I  would  begin  with 
the  Tonic-sol-fa,  and  continuing  it  would  branch  off  into  staff  notation. 
If  you  start  out  with  the  idea  of  giving  thorough  instruction  in  staff 
notation,  you  can  do  it  quicker  by  first  learning  the  Tonic-sol-fa,  because 
it  teaches  music.  It  is  wonderful  how  few  explanations  turn  it  over  into 
the  staff.  The  staff  comes  perfectly  clear.  It  is  marvelous  how  easy  it 
is.  You  learn  all  about  reading  and  singing  with  very  little  work.  If 
you  begin  with  the  staff  notation,  the  staff  being  developed  on  the  instru- 
mental side  and  not  on  the  vocal,  it  is  a  long  and  a  slow  process. 

Mr.  Perkins:  We  have  not  much  time  to  spare,  but  I  would  like  to 
reply  briefly  to  Mr.  Landon  and  others,  and  keep  strictly  to  the  subject 
before  us,  which,  as  I  understand,  is  in  the  line  of  elementary  teaching, 
presented  in  the  essays  that  have  been  read  in  this  hall.  We  would  infer 
from  the  argument  of  the  sol-f aists  that  a  mental  and  successful  change 
of  key  by  the  staff  notation  is  a  very  difficult  thing  to  do,  and  I  may  say, 
next  to  impossible.  I  would  like  to  take  a  few  minutes  and  write  an 
exercise  to  illustrate  practically  change  of  key,  or  the  different  positions 
of  the  scale,  upon  the  staff  for  the  children  to  sing,  as  this  mode  of  argu- 
ment will  be  more  convincing,  pro  or  con,  than  words. 

(Mr.  Perkins  then  illustrated  his  argument  upon  the  blackboard,  and 
called  upon  the  class  of  public  school  children  present  to  sing  in  the 
seven  positions,  which  they  did  from  five  notes,  ascending  and  descend- 
ing.) 

Mr.  Mason:  Is  it  not  true  that  we  have  used  everything  that  the 
Tonic-sol-fa  men  have  in  their  system,  and  have  we  not  used  it  right 
along? 

Mr.  Perkins:  We  have,  those  who  have  taught  properly;  but  I  have 
remarked  before  that  some  teachers  of  the  staff  notation,  now  converts 
to  the  sol-fa,  remind  me  of  Saul  of  Tarsus,  who  was  struck  blind,  and 
who  "  saw  men  as  trees,  and  trees  as  men,  walking."  The  progressive 
thinkers  and  teachers  have  had  no  need  of  a  new  system  in  order  to  suc- 
cessfully teach  sight-singing;  they  have  no  need  of  being  converted. 
Those  who  have  been  the  greatest  sinners  receive  the  greatest  shock  upon 
being  convicted,  I  suppose.  This  may  be  the  reason  for  the  excessive 
exuberance  and  inexpressible  joy  that  some  sol-f  aists  manifest.  In  my 
opinion  the  orthodox  staffites  teach  all  of  the  essentials. 

Mr.  Landon:  Except  notation. 

Mr.  Perkins:  That  remark  fits  the  sol-fa  teachers  splendidly.  But 
I  repeat  that  notation  has  nothing  to  do  with  the  case,  any  more  than  a 


150 


MUSIC  teachers'  national  association. 


•written  language  has  in  teaching  the  child  to  talk.  The  philosophy  of 
teaching  was  understood  and  practiced  before  sol-fa  was  born,  but  if  it 
has  revealed  any  new  thing  to  any  teacher,  such  as  how  to  instruct  pupils 
to  think  with  the  same  intelligence  and  accuracy  that  they  do  in  other 
branches  of  study,  then  I  am  pleased  that  they  have  "  seen  a  great  light." 
What  we  want  for  the  children  of  the  public  schools  is  good,  sound,  sen- 
sible music  teaching,  that  is  all. 

Mr.  Heath:  I  have  attended  this  Association  and  its  meetings  nearly 
twelve  years,  missing  but  one.  We  have  tried,  each  of  these  twelve 
years,  to  say  something  on  the  subject  of  teaching  music  in  the  Public 
Schools,  but  during  all  this  time  I  have  heard  nothing,  nothing,  nothing. 
but  "  notation." 

Is  it  not  about  time  that  those  who  have  no  other  sermon  to  preach 
be  asked  to  adjourn  to  the  woods  and  talk  it  out  with  themselves?  Nota- 
tion is  but  a  small  part  of  the  work.  There  are  other  and  more  impor- 
tant things  before  notation;  a  knowledge  of  tonality,  and,  ladies  and 
gentlemen,  there  is  much  that  can  be  said  and  much  that  can  be  learned 
upon  this  point  in  teaching.  It  is  a  matter  of  far  more  importance  than 
anything  else  that  has  come  before  this  Association  for  discussion.  It  is 
a  thing  that  lies  at  the  root  of  all  our  musical  education,  and  a  child  who 
has  no  knowledge  of  tonality  may  know  everything  else  on  the  face  of 
the  earth,  and  he  is  as  lame  as  a  child  without  limbs  and  more  helpless 
than  one  without  arms.  But,  if  it  must  be  otherwise,  let  us  take  advan- 
tage of  Edison's  wonderful  invention,  the  phonograph.  Let  us  ask  th& 
children  to  go  home,  take  one  of  those  phonographs  in  their  hands,  with 
tube  thrust  into  their  ears.  We  will  get  some  artist  to  sing  into  it,  and 
then  turn  the  crank  for  the  edification  and  rote- education  of  the  children. 
This  sort  of  education  may  produce  tempory  pleasure,  but  everlasting 
regret.  Why  make  phonographs  or  organetts  of  our  children?  Why  not 
recognize  that  they  have  heads  and  brains?  Why  not  recognize  the  fact 
that  those  brains  must  be  brought  into  use,  that  they  must  know  some- 
thing of  music?  Singing  a  song  is  all  pretty,  it  is  all  right.  There  are 
many  times  and  places  where  that  is  perfectly  proper,  but  that  is  by  na 
means  first.  If  it  is  not  first  in  arithmetic,  if  it  is  not  first  in  language, 
if  it  is  not  first  in  geography,  if  it  is  not  first  in  anything  else  in  all  the 
line  of  human  intelligence,  why,  on  the  face  of  the  earth,  will  you  put 
it  first  in  music?  Why  reverse  the  whole  order  of  human  experience. 
I  cannot  understand  why  anybody  that  has  thought  on  that  subject  of 
teaching  should  ever  think  of  such  a  thing  foremost. 

There  is  not  one  thing  that  you  and  I  know  that  is  worth  anything 
that  we  have  not  learned  by  imitation,  or  the  underlying  fundamental 
principles.  We  get  our  first  impressions  from  hearing,  and  then  we  exer- 
cise our  powers  of  imitation.  Had  it  not  been  for  imitation,  we  should 
never  have  had  the  locomotive  to-day;  we  should  never  have  had  our 
electric  system.  The  steps  have  all  gone  on  from  one  to  another,  but  do 
you  tell  me  there  has  been  no  intelligence  exercised  in  the  development 
of  these  things?   It  has  been  brains  that  has  led  up  to  it.   It  has  not 


MUSIC  IN  PUBLIC  SCHOOLS— DISCUSSION. 


151 


been  imitation  simply.  Now,  if  this  little  girl  stands  up  and  sings  for 
me,  and  she  does  not  give  me  a  good  quality,  I  give  an  example  of 
the  quality  desired ;  also  of  pitch,  and  other  essentials.  That  is  legiti- 
mate imitation,  and  is  given  in  every  other  study  at  school.  But  when  I 
ask  this  little  girl  to  sing  a  song  for  me  for  the  purpose  of  having  a  song 
simply,  without  the  exercise  of  any  intellectual  judgment  in  connection 
with  it,  it  is  simply  time  wasted.  It  does  not  amuse  the  child.  It  may 
tickle  the  ear  of  the  public  for  the  time  being,  but  it  is  a  mere  useless 
waste  of  time. 

I  must  beg  your  pardon  for  keeping  you  so  long.  I  would  like  to 
answer  the  gentleman  who  attacked  my  paper  as  I  believe  I  have  a  right 
to.  He  believes  in  the  sentence  method.  Let  me  ask  this  gentleman  a 
question.  This  gentleman  proposes  to  teach  this  little  girl  the  German 
language,  or  any  other  language,  by  the  sentence  method.  Now,  little 
girl,  I  am  going  to  ask  you  to  be  perfectly  dumb.  I  am  going  to  suppose 
you  to  be  little  girl  from  the  woods,  who  never  heard  a  word  of  the  Ger- 
man language,  or  any  other  language  in  the  world,  and  I  am  going  to 
ask  you  if  you  would  be  able  to  say  to  me  that  my  thumb  is  short? 

A.  No,  sir. 

Q.  Would  not  my  words  to  you  be  mere  meaningless  sound  ? 
A.  Yes,  sir. 

Mr.  Hbath  :  That  is  all  there  is  of  it. 

Mr.  Stewart  :  There  is  an  illustration  we  have  right  at  hand.  Mr. 
Mason  is  a  Chinaman,  with  his  que  cut  off.  May  be  he  can  talk  the  Jap- 
anese language? 

Mr.  Mason  then  gave  several  illustrations  in  connection  with  the 
Chinese  language,  using  both  the  children  and  Mr.  Heath  in  connection 
with  his  illustration. 

Mr.  Bach  :  My  method  of  language  teaching  is  by  sentences.  I  will 
take  any  person  willing  to  learn  German,  and  teach  him  German  by  the 
sentence  method.  And  let  another  person  use  another  method,  and  we 
will  see  where  we  will  be  in  about  four  lessons.  My  pupil  will  communi- 
cate in  German,  will  express  himself  to  me.  To  cut  it  short,  I  don't  want 
to  take  up  your  time  this  morning,  I  say  to  him,  "  The  hand  is  long." 
He  says  to  me,  "Is  the  hand  long  ?"  I  say  to  him,  "  The  hand  is  long  ; 
yes,  the  hand  is  long."  I  will  measure  the  sun,  and  I  will  show  by  the 
sense  that  it  is  a  certain  thing,  and  I  will  teach  him  that  by  the  lan- 
guage method.  I  will  say,  "Is  the  thumb  long  ?"  and  I  will,  by  some 
motion,  assist  the  child.  The  child  must  be  drawn  out.  Of  course,  I 
would  not  proceed  as  fast  as  I  go  here,  but  I  would  soon  reach  the  point 
where  the  child  will  speak.  I  had  on  exhibition  a  class  of  children  who 
never  spoke  German  before,  and  in  a  short  time  they  could  speak  a  num- 
btr  of  sentences. 

Mr.  Heath  :  You  say  the  finger  is  long.  That  is  the  object,  isn't  it? 
Mr.  Bach  :  Yes. 

Mr.  Heath  :  Did  not  the  child  get  the  objective  word,  finger? 
Mr.  Bach  :  Yes  ;  but  it  was  the  association  of  ideas. — Adjourned. 


SECRETARY'S  REPORT. 


Detkoit,  Mich.  Tuesday,  July  1,  1890. 

Pursuant  to  adjournment  of  the  thirteenth  meeting  in  Philadelphia, 
July  5,  1889,  the  Music  Teachers'  National  Association  assembled  for 
its  fourteenth  annual  meeting  in  the  Detroit  Opera  House.  The  conven- 
tion was  called  to  order  at  10:15  a.  m.,  by  President  Albert  Rose  Parsons, 
of  New  York. 

James  B.  Angell,  L.  L.  D.,  President  University  of  Michigan, 
delivered  an  elegant  address  of  welcome. 

President  Parsons  responded  and  delivered  his  message. 

On  motion  of  Mr.  Landon  the  chair  appointed  Messrs.  Landon,  Foot 
and  Root  as  a  committee  to  consider  the  recomendations  made  in 
the  President's  address, 

Secretary  Perkins  presented  his  report. 

At  11:30  a.  m.  the  following  concert  of  American  compositions  was 
giveni 

Pianists. 

Calixa  Lavallee,  Boston,  Mass.      Miss  Kate  H.  Jacobs,  Detroit,  Mich.      Ernest  R. 
Kroeger,  St  Louis,  Mo. 

Vocalist. 
Miss  Jessie  Corlette,  Detroit,  Mich. 

ViOLOKCBLLIST. 

Charles  Heydler,  Cleveland,  Ohio. 
The  Detkoit  Philharmonic  Clttb. 
Wm.  Yunck,  Ist  Violin.      L.  F.  Schultz,  2nd  Violin.      Walter  Voigtlander,  Viola. 
Arthur  MetzdorfE,  Violoncello. 

Mendelssohn  Male  Quartet. 
Chas.  B.  Stevens,   Tenor.      A.  F.  Dierkes,  Tenor.      E.  C.  Crane,  Baritone,  Chas. 

Puddefeot,  Basso. 

Accompanist, 
Mrs.  J.  D.  Mehan,  Detroit,  Mich. 

PROGRAM. 

1.  Organ  Solo— Sonata  in  D  major  (M.  S.)  

In  troduction — Allegro, 
Andante. 

Maestoso— Fugue. 
J.  C.  Batchelder,  Detroit,  Mich. 

2.  Songs,  a.  "Not  Lost,  But  Gone  Before,"  

b.  "Love's  Philosophy,"..,  

c.  "Go,  Lovely  Rose,"  

Miss  Corlette. 


,W.  W.  Gilchrist 


.Harry  Row  e  Shelly 

 Jules  Jordan 

 Arthur  Foote 


secretary's  report.  153 

3.  Suite  for  Piano  and  'Cello  (M.  S.)  Calixa  Lavallee 

Allegro  Apassionata. 
Scherzo, 

Romanza. 


Presto  a  la  Tarentelle. 
Mr.  Lavallee,  Mr.  Heydler. 


4.  Piano  Solo—  a.  Le  Papillon  (The  Butterfly,)  Calixa  Lavallee 

b.  Impromptu  in  G  minor,  Arthur  Foote 

c.  Etude  de  Concert,  Op.  36  E.  A.  MacDowell 

Miss  Jacobs. 

6.   Quartet— "On  the  Sea,"  Dudley  Buck 


Mendlessohn  Male  Quartet. 

6.   Quintet— for  Piano,  Violins,  Viola  and  'Cello  (M.  S.)  E.  R.  Kroeger 

Allegro  Energico. 
Intermezzo. 

Lento  e  Sostenuto. 
Alia  Tarantella. 

Mr.  Kroeger  and  Philharmonic  Club. 
(Miller  Piano  used.) 

2:15  P.  M. 

CHURCH  MUSIC  RECITAL,  under  the  general  direcrion  of  S.  B.  Whitney, 
Boston,  Mass. 

(Authorized  by  the  Church  Music  Committee.) 

SELECTED  CHOROUS  OF  MIXED  VOICES.   C.  B.  Stevens,  Director. 
Sopranos. 

Mrs.  Ida  Norton,      Mrs.  C.  F.  Schultz,      Mrs.  Fred.  A.  Robinson,      Miss  Jean 

Forsyth. 

CONTBALTOS. 

Mrs.  Chas.  Wright,      Mrs.  E.  T.  Tripler,      Miss  Emily  Gilmore,      Miss  M.  Welz. 

Tbkors. 

Jamea  Vaughan,       Chas.  W.  Lokie,      Chas.  B.  Stevens,       A.  F.  Dierkes. 

Bassos. 

E.  C.  Crane,      Chas.  Puddefoot,      Frederick  Fayram,      Frank  T.  Lodge. 

ST.  PAULS  CHURCH  CHOIR, 
J.  C.  Bachelder,  Organist,   Harrison  B.  Wright,  Choir  Master. 
Sopranos  and  Altos. 
Geo.  K  Dyer.      Harvey  Winckler,      Fred.  Beatty,       Geo.  Vickery,       Fred.  G. 
Dyer,      Morley  Dumas,       Chas.  Greedus,      Willie  Johnston,      Jas.  Belford, 
Rex  Clarke,       SoUace  Coolidge,       Geo.  Lord,       John  Harris,  Bert 
Diegel,      Walstein  Failing,      Wilson  Jackson,      Nelson  Thompson, 
Robert  Harris,      Lewis  Guest,      Starkey  Sanford,  David 
Holmes    Wade  Parsons,     Frank  Purdy,    Geo.  Johnston. 

Tbnobs  and  Bassos. 

B.  J.  Purdy,      Ross  HoUister,      H.  E.  Palmer,    H.  E.  Beadle,     W.  M.  K.  Bllerton, 
Geo.  Ketchum,      J.  W.  Scofield,      J.  J.  Smith,      Fred.  Winckler, 
Frank  G.  Curtis,       N.  R.  Jose,       Albert  Peters, 
Hiram  Jackson,  B.  Wells,  F.  A.  Reilly. 


4 


MUSIC  TEACHERS   NATIONAL  ASSOCIATION. 


PROGRAM. 

1.  Organ— Voluntary,  S.  B.  Whitney 

2.  Processional  Hymn— "The  Son  of  God  goes  forth  to  War."  S.  B.  Whitney 

St.  Paul's  Choir. 

3.  Tenth  Selection  of  Psalms— Anti phonal  Chant,  Trinity  Psalter 

St.  Paul's  Choir. 

4.  Anthem— "Praise  the  Lord,"  J.  C.  D.  Parker 

Mixed  Choir. 

5.  Gloria  in  Excelsis— In  C,  Berthold  Tours 

St  Paul's  Choir. 

6.  Anthem— "The  Lord  is  my  Strength,"  Smart 

Mixed  Choir  and  St.  Paul's  Choir.' 

7.  Bass  Solo— "The  King  of  Love  My  Shepherd  is,"  Gounod 

Mr.  Crane. 

8.  Te  Deum  in  G,  Knox 

Mixed  Choir. 

9.  Magnificat  in  G,    Calkins 

St.  Paul's  Choir. 

10.  Anthem— "I  am  Alpha,"    Stainer 

Mixed  Choir  and  St.  Paul's  Choir. 

11.  Anthem— "The  Lord  is  Exalted,"    West 

St.  Paul's  Choir. 

18.  Hymn— Nearer  My  God  to  Thee,"  Sullivan 

St.  Paul's  Choir* 

13.  Recessional  Hymn— "All  Hail  the  Power  of  Jesus'  Name,'"  S.  B.  Whitney 

St.  Paul's  Choir. 

4:00  P.  M. 

PIANO  RECITAL  by  Emil  Leibling,  Chicago,  111. 

Vocalist   Mrs.  B.  L.  Rouse,  Mezzo  Soprano,  Cleveland,  Ohio. 

Accompanist   Wilson  G.  Smith,  Cleveland,  Ohio. 

PROGRAM. 

1.  a.  Prseludium  in  E  minor,    E.  A.  MacDowelj 

b.  Sonata  Op.  7,  Grieg 

Mr.  Liebling. 

2.  a.  "Love's  Philosophy,"  Arthur  Foote 

b,  "Persian  Love  Song,"  R.  deKoven 

c.  "Loak  in  My  Heart,"    Wilson  G.  Smith 

Mrs.  Rouse. 

3.  a.  Romanze  Op.  23,  ,  Gernsheim 

b.  Mazurka   KarganofE 

c.  Spring  Song,  -   Neupert 

d.  Caprice  Norwegienne,  Wilson  G.  Smith 

e.  Etude  and  Polonaise  de  Concert,  Tchytte 

Mr.  Leibling. 
(Hallet  and  Davis  Piano  dsed.) 

8:00  P.  M. 

GENERAL  RECEPTION,  Philharmonic  Hall,  under  the  Auspices  of  the 
Ladies  of  the  Tuesday  Musicale. 


secretart's  report. 


155 


SECOND  DAY. 

Wednesday,  July  2,  9:45  A.  M. 
President  Parsons  called  the  meeting  to  order  and  H.  C.  Macdougall 
of  Providence,  R.  I.  opened  the  exercises  upon  the  Farrand  and  Yolty 
pipe  organ,  erected  for  the  occasion,  with  the  "Funeral  March  and  Hymn 
of  Seraphs,"  by  Guilmant,  and  Fugue  on  "BACH,  "  by  John  Sebas- 
tian Bach. 

In  the  piano  department  essays  were  read  by  James  H.  Howe  of 
Greencastle,  Ind.,  Chas.  H.  Jarvis  of  Philadelphia,  and  Mme.  Fannie 
Bloomfield-Zeisler  of  Chicago. 

On  motion  a  committee  was  appointed  by  the  chair  to  report  on 
the  question  of  Life  Members.  N.  Coe  Stewart,  H.  C.  Macdougall  and 
Max  Leckner  composed  the  committee. 

Resolutions  were  referred  to  the  Board  of  Yice  Presidenti  for  con 
sideration,  bearing  upon  certain  changes  to  be  made  in  the  Constitution^ 
as  to  the  name  of  the  Association,  and  the  holding  of  an  International 
Congress  of  Musicians  in  Chicago  in  1893,  during  the  World's  Fair. 

11:30  A.  M. 

piano  recital  by  Henry  Waller,  Louisville,  Ky. 

Vocalist,  Miss  Annie  S.  Wilson,  Detroit,  Mich. 

Accompanist,  James  H.  Rogers,  Cleveland,  Ohio. 


PROGRAM. 

1.   a.  Fantaisie,  in  F  minor,  Chopin 

b.  Sermon  to  the  Birds,  Liszt 

c.  Tarentelle— Venezia  Napoli,  Liszt 

Mr.  Waller. 

2-  Songs—  a.  "  I  Told  White  Roses,"  Wilson  Q.  Smith 

b.  "  Love,"    Calixa  Lavallee 

c.  "  My  Jean,"  E.  A.  MacDow«ll 

d.  "  When  Love  is  Done,"  James  H.  Rogers 

Miss  Wilson. 

3.  a.  Sonata,  Op.  31,  No.  3,  ,  Beethoven 

b.  Impromptu,  ,  Waller 

c.  Trot  de  Cavalerie,  Rubinstein 

d.  Walkuren  Ritt,  Wagner-Tansig 

Mr.  Waller. 

4.  Songs—  a.  Prayer,  ,  Durante 

b.  '*  Timbre  d'  Argent,"  Saint-Saen^ 


Mme.  Julia  Rosewald.  With  violin  obligato  by  J.  H.  Resowald. 
(Miller  Piano  Used.) 

8:15  P.  M. 

ORGAN  SOLOS— Passacaglia  in  B  flat  (" Frescoboldi,")  and  "Fugue  in  D 
major,"  (Quilmant.)  By  A.  A.  Stanley  of  Michigan, 

Essay  in  the  Theory  department  were  read  by  John  8.  Yan  Clcve  Of 
Ohio  and  Waldo  S.  Pratt  of  Connecticut. 


156 


MUSIC  TEACHERS   NATIONAL  ASSOCIATION. 


REPORT  OF  THE  O.  AND  C.  C.  E.  F.  COMMITTEE. 


The  Orchestral  and  Choral  Concert  Endowment  Fund  Committee, 
recently  appointed  are  unable  to  make  a  satisfactory  report,  because  so 
far  they  have  not  had  time  or  opportunity  to  hold  a  meeting,  or  jointly  to 
devise  a  plan  of  action. 

The  Secretary  of  the  Committee  has  lately  asked  the  opinion  of  forty- 
seven  (47)  Composers  and  Orchestral  Leaders  in  various  parts  of  the 
country  on  the  propriety  and  usefulness  of  such  fund.  This  correspon- 
dence has  elicited  seventeen  (17)  letters  in  answer,  all  unqualified 
endorsements  of  the  feasibility  of  creating  such  fund,  some  adding  sub- 
stantial proof  of  confidence  by  their  application  for  Life  Membership  in 
the  M.  T.  N.  A. 

Ten  duplicates  of  Treasurer's  Receipts  (numbers  2  to  11  inclusive) 
representing  the  sum  of  $184.00  were  received  from  as  many  con- 
tributors. 

Subscribers  and  solicitors  blanks,  as  well  as  the  necessary  receipt 
blanks,  have  been  printed  and  are  ready  for  distribution  to  any  and  all 
who  are  willing  to  use  them  for  the  enlargement  of  the  fund.  Attention 
is  called  to  the  pamphlet  distributed  throughout  the  hall,  and  a  careful 
perusal  thereof  is  respectfully  solicited.  Personal  appeals  to  memberi 
during  this  meeting  have  been  productive  in  increasing  the  subscription 
to  nearly  $900.00.  Your  committee  reports  further  instructions  as  to 
their  duties  and  powers  from  this  meeting. 

It  is  suggested  that  the  name  of  this  committee  be  changed  to  the 
^' Board  of  Trustees  for  the  Choral  and  Orchestral  Fund." 

All  this  is  respectfully  submitted  in  behalf  of  the  Committee  for  the 
Choral  and  Orchestral  Fund  of  the  M.  T.  N.  A. 


The  above  was  adopted. 
Mr.  President: 

Your  committee,  to  whom  the  enclosed  resolution  was  referred  are 
forced,  after  due  consideration,  to  make  a  report  adverse  to  its  passage 
in  its  present  form,  and  would  in  all  modesty  suggest  the  following 
substitute: 

Eesolved,  "That  any  person  wishing  to  give  a  concert  for  the 
benefit  of  any  fund  of  the  M.  T.  N.  A.,  should  obtain  the  President's 
official  sanction  as  temporary  agent  of  the  Association,  only  when  able 
to  bring  the  endorsement  of  two  or  more  members  in  good  standing. 


Adopted. 

The  manner  of  depositing  the  money  contributed  to  the  O.  and  C.  C. 
Fund  for  the  accumulation  of  interest  was  discussed.  Mr.  DeRoode 
moved  that  it  be  deposited  with  some  New  York  trust  company. 

Mr.  Farnum  moved  a  substitute  that  the  matter  be  referred  to  the 
committee.  Carried. 


Max  Leckner,  Secretary. 


either  of  his  own  or  some  neighboring  city.' " 

Signed. 


secretary's  report. 


157 


Mr.  Macdougall,  Secretary  of  tlie  Board  of  Vice-Presidents,  made 
the  following  report:  On  time  and  place  of  meeting,  that,  there  be  no 
meeting  in  1891,  and  that  the  next  meeting  be  held  at  Minneapolis,  Minn., 
at  the  usual  time  of  the  year  in  1893. 

On  nominations  : — For  President  J.  H.  Hahn,  of  Detroit;  for  Secre- 
tary H.  8.  Perkins,  of  Chicago;  for  Treasurer  W.  F.  Heath,  of  Ft. 
Wayne,  Ind. 

Executive  Committee:— Carl  Lachmund  (chairman)  of  Minneapolis; 
S.  A.  Baldwin,  of  St.  Paul,  and  Walter  Petzet,  of  Minneapolis. 

Program  Committee: — W.  H.  Allen,  of  Connecticut;  Arthur  Foote,  of 
Boston,  and  J.  H.  Rosewald,  of  San  Francisco, 

Examining  Committees  on  American  Compositions: — E.  A.  Mac 
Dowell,  of  Boston  (chairman);  E.  R.  Kroeger,  of  St.  Louis,  and  C  H* 
Jarvis,  of  Philadelphia. 

Auditing  Committee;— J.  W.  Ruggles,  of  Iowa;  C.  H.  Congdon,  of 
8t.  Paul,  and  F.  A.  Parker,  of  Wisconsin. 

The  report  was  received  and  posted  upon  the  bulletin  as  required  by 
the  constitution. 

The  following,  moved  by  H.  C.  Farnum,  of  Ohio,  was  adopted: 

"Resolved,  That  the  Committee  on  Terminalogy  be,  and  hereby  is 
directed  to  report  to  the  Association  what  books,  if  any,  contain  a  full 
and  accurate  statemement  of  the  theory  and  proper  interpretation  of 
ornamental  notes  and  passages." 

Preceding  the  piano  recital  of  Edward  Baxter  Perry,  of  Boston,  and 
in  connection  with  his  numbers  upon  the  program,  he  offered  the  fol- 
lowing remarks: 

"Ladies  and  Gentlemen — As  this  form  of  lecture-recital  is  an 
innovation  of  my  own,  allow  me  a  prefatory  word  concerning  its 
nature  and  purpose,  before  I  proceed  to  the  regular  work  of  the  pro- 
gram. 

In  a  representative  musical  audience,  such  as  that  at  present 
assembled,  there  are  probably  few  who  would  not  be  ready  to  admit  in  a 
general  way,  perhaps  even  to  assert  with  considerable  energy,  if  dis- 
puted, that  music  is  an  art,  fully  equal  in  rank,  in  power  and  beauty,  to 
her  sister  arts,  poetry  and  painting.  But  are  we  always  as  fully  agreed 
on  the  precise  significance  of  this  seemingly  elastic  term,  as  we  are 
unanimous  in  its  use  ?  Mere  executive  or  constructive  skill,  mere 
power  to  overcome  stupendous  difficulties,  or  to  produce  a  high  degree 
©f  sensuous  pleasure,  while  they  by  no  means  constitute  art,  are  often 
confounded  with  it,  too  often  cultivated  and  commended  in  its  stead,  and 
to  its  decided  detriment.  The  first  essential  step,  it  seems  to  me,  for  the 
earnest  votary,  is  to  ascertain  exactly  what  is  meant  by  the  service  of  art, 
exactly  what  demands  are  made  upon  him  by  this  most  jealous,  most 
incomparable  of  mistresses. 

The  best,  the  most  concise,  yet  comprehensive  definition  of  art,  with 
which  I  am  familiar,  is  that  of  the  leading  German  sesthetican,  Friedrich 
Yischer,  comprised  in  just  three  words:  "  Life  in  form;"  by  which  he 


158 


MUSIC  teachers'  >'atioxal  association. 


means,  according  to  his  own  amplification,  any  phase  of  human  life  or 
experience,  any  scene  or  phenomenon  in  nature,  embodied  by  human 
means  in  symmetrical,  intrinsicaly  beautiful  form. 

"The  source  of  all  the  arts  is  one,"  says  Liszt;  "but  their  mediums 
of  expression  are  many,"  and  a  single  idea  may  often  be  embodied,  with 
equal  power  and  beauty,  in  words,  as  in  poetry;  in  colors,  as  in  painting; 
in  tones,  as  in  music.  Mere  skill,  however  phenomenal,  mere  control  of 
difficulties,  or  of  the  springs  of  pleasure,  however  masterly,  not  only  do 
not  constitute  art,  but  do  not  even  serve  it,  unless  used  as  a  means  by 
which  to  express  and  convey  some  thought  or  mood  or  perception,  within 
the  vast  and  varied  scope  of  human  experience. 

In  a  poem,  it  is  not  the  jingling  rhyme,  or  flowing  metre,  or  perfect 
diction;  but  the  ideas  expressed,  which  form  the  vital  art  principle.  In 
a  picture,  it  is  not  the  pleasantly  blended  colors,  not  the  accurate  and 
graceful  drawing,  not  even  the  strict  fidelity  to  natural  objects  copied; 
but  the  mood  or  thought  suggested,  which  makes  it  an  art  work.  And 
so  in  music,  it  is  not  the  pleasing  melody,  nor  the  ingenious  and  original 
combination  of  harmonies,  nor  the  startling  display  of  technical 
proficiency;  but  some  spark  of  vital  experience  from  the  life  of  the 
composer,  which  it  embodies;  some  thought  or  mood  which  it  conveys  to 
the  listener;  some  message  which  it  brings  for  heart  and  brain,  as  well  as 
senses,  which  renders  it  worthy  of  the  name  of  art  work. 

But  this  language  of  tone  is  illusory,  etherial,  the  least  definite  of  aU 
forms  of  human  utterance;  and  it  is  for  this  reason  that  I  have  ventured 
of  late  years,  to  preface  the  numbers  I  present  with  a  brief,  informal 
analysis  in  words,  giving  what  seems  to  me  a  rational  interpretation  of 
the  work,  and  any  points  connected  with  it,  which  I  think  may  add  to 
the  general  interest.  My  purpose  is  simply  to  facilitate  a  ready  com- 
prehension and  enjoyment  of  the  composition,  especially  at  a  first  hearing 
for  those  to  whom  the  tone-language  is  comparatively  unfamiliar. 
Others,  to  whom  these  explanations  are  neither  new  or  necessary,  will  be 
kindly  tolerent  of  them,  I  trust,  for  the  sake  of  those  whom  they  may 
help  or  interest.  Of  course  I  do  not  claim,  indeed  it  were  impossible,  to 
give  a  literal  English  translation  of  these  great  tone-poems.  Their 
subtler  beauties  will  always  baffle  all  the  resources  of  the  colder,  coarser 
vernacular. 

It  has  been  well-said,  "  Where  language  ends,  there  music  begins." 
But  I  think  it  possible  to  shadow  forth,  at  least  in  general  outUne,  the 
plot  of  a  composition,  so  to  speak;  to  call  attention,  in  a  few  plain 
sentences,  to  its  salient  characteristics,  to  its  general  emotional  contents, 
and  thereby  to  place  the  listener  in  a  more  receptive  attitude.  I  merely 
endeavor  to  draw  the  proper  stops  for  a  given  effect,  before  attempting 
to  touch  the  keys  of  that  great  organ  of  human  sensibilities,  which  it  is 
the  ambition  of  every  artist  to  set  vibrating  in  harmony  with  his  own 
conceptions;  to  erect  a  platform  of  words,  however  rudely  constructed, 
from  which  to  obtain  the  best  view  of  the  tone-pictures  to  be  pre- 
sented." 


secretary's  report. 


159 


4.00  P.  M. 

PIANO  RECITAL  AND  LECTURE  by  Edward  Baxter  Perry,  Boston,  Mass. 

Vocalist  Mrs.  Jessie  Bowen  Caldwell,  Covington,  Ky, 

Accompanist  W,  L.  Blumenschein,  Dayton,  Ohio. 

PROGRAM. 

1.   Sonata,  Op,  85,  B  flat  Minor  Chopin 

Introduction  and  Allegro. 
Scherzo. 

Marche  Funebre. 
Presto, 
Mr.  Perry. 

3.  Aria— "Rejoice  Greatly  " —Messiah  Handel 

Mrs.  Caldwell. 

3.  a.  Der  Erlkonig  Schnbert-Liazt 

b.  Portrait  No.  22  from  the  Kammenoi-Ostrow  Album  — Rubinstein 

c.  Staccato  Elude   " 

Mr.  Perry. 

4.  Aria— "Although  Obscure,  more  Royal  Great,"  from  Queen  of  Sheba.  Gounod 

Mrs.  Caldwell. 

5.  a.  Tarantelle,  A  miaor  Fred.  D.  Mor  ey 

b.  Die  Lorelie  ,  ,  E.  B.  Perry 

c.  Polonaiae  H(3oique     Ferdinand  Dewey 

Mr.  Perry. 
^Knabe  Piano  used.) 

Evening  Session,  July  2d,  8  o'clock. 

FIRST  GRAND  CONCERT. 

Thb  Hon.  Don  M.  Dickinson,  of  Detroit,  in  opening  the  meeting, 
spoke  as  follows  ; 

Ladies  and  OentUmen  :  I  congratulate  our  guests,  and  I  congratulate 
the  city  of  Detroit  upon  the  magnificent  success  of  this  convention. 
The  reason  must  be  apparent  to  all,  and  it  is  that  Detroit  is  the  best  place 
in  the  world  in  which  to  hold  any  convention.  You  who  are  guests  have 
doubtless  been  struck  with  the  modest  and  retiring  disposition  of  the 
people  of  Michigan.  Withal,  "you  have  seen  that  we  are  not  vainglorious 
or  boastful.  When  we  tell  you  any  of  the  thousand-and-one  things  in 
which  we  excel,  we  do  not  do  it  in  a  spirit  of  boasting,  but  from  a  stern 
sense  of  duty  to  give  information  to  the  strangers  within  our  gate,  and 
so  widen  their  knowledge. 

When  we  state  to  you  that  our  river  is  unrivaled  in  beauty  and  puri- 
ty, that  our  park  is  the  finest  and  most  unique  in  the  world,  that  the  city 
of  Detroit  is  the  most  beautiful  on  the  continent,  that  the  school  system 
of  Michigan  is  the  best  on  earth,  that  our  gold,  our  iron,  our  copper,  our 
grain,  our  manufactures,  are  the  best  of  their  several  kinds  in  the  Union, 
we  are  but  telling  you  from  abroad  what  you  ought  to  know  and  what 
you  deserve  to  know,  and,  when  we  say  these  things,  we  can  make  proof 
by  exhibit.  But  when  we  say  *hat  of  the  people  of  Michigan,  taking 
them  by  and  large,  they  are  the  most  intelligent,  the  most  progessive 


160 


MUSIC  teachers'  xattonal  association. 


and  most  comfortable,  we  must  introduce  in  evidence  representative 
types,  because  you  cannot  see  all,  and  to  this  end,  when  we  do  make  a  . 
selection  of  a   representative  citizen,  it  will  be  one  of  whom  it  has 
been  demonstrated  and  of  whom  it  is  generally  universally  conceded  that 
he 'is  an  honor  and  a  credit  to  such  a  State. 

The  Governor  of  Michigan,  so  far  as  I  know  (and  I  know  considerable 
about  him  from  his  public  career),  can  do  almost  everything  well,  except 
sing ;  whether  he  can  do  that  or  not,  I  don't  know — I  am  not  informed, 
but  I  do  know,  and  I  can  testify,  that  he  can  make  the  liveliest  kind  of 
music  for  his  political  adversaries  in  a  campaign,  and  it  may  be  said  of 
him  in  all  sincerity  that  there  is  no  man  who  is  more  representative  of  all 
the  people  of  this  State  than  our  distinguished  executive. 

The  honor  and  pleasure  of  the  evening  is  mine  when  I  present  to  you 
Cyrus  G.  Luce,  Governor  of  the  State. 

GOVEBNOR  luce. 

Mr.  Ghai/rman,  Ladies  and  Gentlemen  of  the  Music  Teachers'  Associa- 
tion, and  Felloio- Citizens  of  Detroit :  I  desire  to  congratulate  this  conven- 
tion for  their  wise  discrimination  in  the  election  of  a  president  for  the 
following  year, 

I  have  known  the  gentleman  whom  you  have  honored  ever  since 
each  one  of  us  was  a  boy.  I  have  enjoyed  his  acquaintance  and  his 
music,  and  I  believe  I  speak  within  bounds  in  saying  that  he  is  entitled 
to  great  credit,  if  not  greater  credit  than  any  other  citizen  of  the  State, 
in  stimulating  the  art  of  music,  not  only  in  Detroit,  but  through  the 
length  and  breadth  of  the  commonwealth,  and  I  thank  you  for 'electing 
him.  From  my  acquaintance  with  Professor  Hahn  for  these  many  years 
I  was  induced  to  come  down  here  upon  his  urgent  invitation,  to  tell  you 
that  I  never  did,  and  never  could  sing  a  tune  in  my  life,  but  still  I  am 
here  to  talk  to  musicians,  and  may  perhaps  draw  the  point  fine  in  relation 
to  this  art,  before  I  conclude. 

When  I  was  a  young  man  I  undertook  to  learn  to  sing.  I  attended  a 
singing-school,  and  the  teacher,  like  all  of  his  class,  was  an  honest,  can- 
did, truthful  man.  After  singing  for  a  time,  he  invited  me  to  sing  alone. 
Some  of  you  can  imagine  my  feelings,  but  I  sang,  or,  at  least  made  si 
noise,  and  ran  along,  not  up  and  down  the  scale,  but  along  the  scale, 
"do,  re,  me."  This  honest,  frank  teacher  stopped  me  in  the  singing, 
and  he  said,  "  You  can  learn  to  sing,  maybe,  but  your  friends  had  better 
advise  you  that  it  will  cost  more  than  it  will  ever  come  to,"  and  this  had 
a  discouraging  effect  upon  me. 

But  I  enjoy  singing.  I  enjoy  music  in  all  of  its  departments  per- 
haps as  well  as  any  of  those  distinguished  musicians  who  are  not  exactly 
before,  but  behind  me  here  tonight,  and  I  desire  to  congratulate  them,, 
and  thank  them,  too,  for  their  wise  discrimination  in  selecting  Detroit 
as  the  place  for  holding  their  Convention  this  year. 

The  honorable  and  distinguished  gentleman  who  preceded  me  told 
you  a  little  something  about  Detroit,  and  alluded  briefly  to  the  State  of 


secretary's  report. 


161 


Michigan.  Allow  me  to  say  we  are  glad  you  came  here  into  what  we 
regard  the  most  beautiful  city  in  all  this  land  of  ours.  Detroit  is  a  part 
of  Michigan,  and  I  assure  you  here  to-night,  in  the  presence  of  represent- 
tives  from  many  other  states,  that  Michigan  is.  the  best  all-around  State 
in  America — and  I  have  told  this  so  often  that  I  believe  it — and  we  are 
glad  that  you  came  to  this  best  of  all  States  to  hold  your  Convention. 
You  who  are  from  other  States  will  not  see  the  entire  Commonwealth  ; 
but  I  assure  you  that  Detroit  is  a  fair  representative  of  the  entire  State. 
We  are  proud  of  Detroit,  and  Detroit  is  proud  of  the  State,  and  I  would 
like  to  speak,  in  welcoming  you,  for  Detroit  and  for  the  entire  Common- 
wealth. 

I  congratulate  you  upon  the  success  that  has  crowned  your  efforts 
here.  All  the  mighty  achievements  wrought  out  in  this  age  in  which  we 
live  are  the  result  of  associated  effort,  of  combining  talent  with  talent, 
mind  with  mind,  hand  with  hand,  and  going  forth  to  accomplish  the 
purposes  we  have  in  view,  and  there  is  perhaps  no  calling  that  requires 
more  of  this  associated  effort  to  reach  its  desired  end  than  the  art  of 
music,  so  I  rejoice  and  congratulate  you  upon  this  National  organization. 
We  are  living  in  an  age  when  the  people  recognize  more,  as  the  days  and 
weeks  and  months  and  years  roll  by,  the  necessity  of  co-operating  for 
the  common  good,  and  it  indicates  the  wisdom  of  those  who  are  teaching 
music  and  who  are  contributing  so  greatly  to  the  interest  and  welfare 
and  happiness  of  all  our  people. 

Music  comes  in  as  an  important  element  in  all  the  relations  of  life. 
Music  is  enjoyed  by  the  rich  and  the  poor;  music  is  enjoyed  in  the  palace 
and  the  hovel;  music  is  enjoyed  by  the  learned  and  the  unlearned  alike; 
music  buoys  up  the  sinking  soul  and  brings  relief  when  sorrow  comes 
near  the  human  heart.  So  we  rejoice  in  the  cultivation  of  music,  and 
we  are  glad  you  are  here  in  Detroit  for  this  reason. 

I  congratulate  you  again  upon  the  success  that  has  crowned  your 
efforts  here.  I  have  watched  the  papers  from  day  to  day,  and  have  seen 
nothing  but  reports  of  success,  of  enjoyment,  of  improvement  and  of 
delight  everywhere  in  this  commercial  metropolis  of  the  State  of 
Michigan. 

I  did  not  come  here  to  make  you  a  speech,  I  came  here  to  enjoy  the 
music  with  you  to-night,  and  I  will  not  detain  you  longer,  further 
than  to  say,  in  behalf  of  this  great,  noble  Commonwealth  of  ours,  that 
we  welcome  you,  not  only  to  Detroit,  but  to  the  State.  May  your  organ- 
ization live,  prosper  and  grow  with  the  coming  years,  and  enlarge  in  all 
its  elements  of  usefulness,  contributing  in  the  future,  as  it  has  in  the 
past,  to  the  welfare  and  happiness  of  the  people  everywhere. 

MR.  parsons'  response. 

Ladies  and  Oenilemen : 

The  Music  Teachers'  National  Association  appreciates  most  highly 
the  honor  of  the  presence  of  His  Excellency  the  Governor  of  Michigan, 
to  open  formally  the  festival  concerts  of  our  Fourteenth  Annual  Meeting. 


163  MUSIC  teachers'  national  association. 

It  is  an  unusual  privilege  to  receive  an  address  from  the  chief  magistrate 
of  p.  great  Commonwealth  at  a  mmsical  festival.  Yet  the  courtesy  is 
most  fitting,  for  not  only  our  States,  bat  also  our  statesmen,  are  practi- 
cally concerned  with  mu^c,  and  to  a  far  greater  extent  than  is  commonly 
recognized.  To  illustrate  this  by  a  very  simple  case:  I  happened  to 
know  of  an  ^.instance  in  the  last  presidential  campaign, — doubtless  but 
■one  out  of  a  thousand  similar  cases — where  the  children  of  a  supporter  of 
the  Red  Bandana  ticket  were  so  fascinated  by  the  ri)ythmic  swing  of  a 
campaign  song  that  they  happened  to  hear  sung  in  a  Republican  meet- 
ing, that  from  thenceforth  their  father  was  compelled  to  hear  it,  early 
and  late,  until  he  feli  in  his  bones  how  the  thing  was  going  on  election- 
day,  whenever  they  sang: 

"I  see  a  train  around  the  bend,  'tis  filled  with  Harrison  men." 

If  song  be  thus  capable  of  serving  as  a  capsule  which  makes  it  a  positive 
pleasure  to  swallow  even  the  most  unpalatable  of  doses,  who  shall 

.worthily  describe  the  power  of  music  when  we  add  it  to  words  express- 
ing the  highest  convictions  of  the  mind  and  soul?  At  all  political  gath- 
erings, all  religious  assemblages,  and  in  brief  on  all  occasions  of  public 
ceremon}^  what  like  music  can  render  men's  minds  as  sensitive  as  tinder, 
prepared  to  catch  fire  at  the  merest  touch  of  the  breath  of  eloquence? 
What  like  music  burns  words  into  the  very  fibres  of  the  human  soul? 
Words  thus  impressed  upon  us  by  the  magic  power  of  music,  we  thence- 
forth carry  with  us,  and  whether  we  know  it  or  not,  there  they  remain,  as 
a  sort  of  secret  writing,  which  time  itself  can  only  hide,  but  cannot 
destroy.  Whatever  touches  those  chords  of  memory  must,  by  virtue  of 
the  reminiscent  power  of  sound,  bring  into  light  that  which  is  stored 
away.  Well  rnight  it  be  said  of  oU,  "  Let  me  make  the  songs  of  the 
people,  and  I  care  not  who  makes  their  laws.''  It  is  from  this  point  of 
view  that  I  beg  to  address  to  your  Excellency  tonight  an  earnest  appeal 
to  exert  your  great  influence,  both  political  and  personal,  to  provide  for 
the  systematic  teaching  of  vocal  music,  on  an  equal  footing  with  all 

•other  studies,  in  the  public  schools  throughout  the  State  of  Michigan, 
and  to  hand  you  herewith,  with  the  compliments  of  the  Music  Teachers' 
Association  of  the  sister  State  of.  New  York,  which  is  one  of  the  off- 
shoots of  the  National  Association,  a  copy  of  the  bill  to  be  introduced  at 
the  next  session  of  its  legislature,  providing  for  the  teaching  of  vocal 
music  in  all  the  public  schools  through  the  Empire  State. 

Wherever  man  discovers  power  in  nature,  he  seeks  to  harness  that 
power  and  make  it  work  for  the  common  good.  Watt's  teakettle  cul- 
minated in  the  great  Corliss  Engine  of  the  Centennial  celebration. 
Thus,  also.  Franklin's  kite  led  to  the  electrical  marvels  of  Morse  and 
Edison.  Let  not,  then,  the  moral  power  of  music  remain  unutilized,  but 
let  Michigan  be  among  the  first  of  the  States  of  our  great  republic  to 
turn  the  great  force  of  song  to  practical  account. 

In  conclusion  I  would  say  briefiy  in  behalf  of  the  Association,  that, 
at  our  meeting  one  year  ago  in  Philadelphia,  when  we  received  the  invi- 


secretary's  report. 


163 


tation  of  the  citizens  of  Detroit,  at  the  hands  of  Prof.  Hahn,  more  was 
promised  us  than  we  could  conceive  it  possible  to  perform;  but  that 
promise  has  been  redeemed  more  than  threefold.  We  thank  you  for 
your  reception. 

ORCHESTRAL  AND  CHORAL  CONCERT— (American  Compositions.) 
Theodore  Thomas,  Conductor. 

Pianist— E.  A.  Mac.Dowell  Boston,  Mass. 

Vocalists— Miss  Jessie  Corlette  Detroit,  Mich. 

"  Miss  Agnes  Vogel   Pittsburgh,  Pa. 

Mrs.  Harry  Whittemore  Bay  City,  Mich. 

PROGRAM. 

Address  by  His  Excellency,  Cyrus  G.  Luce,  Governor  of  Michigan. 
Response  by  Albert  Ross  Parsons,  President  of  the  Music  Teachers' 
National  Association. 

1.  Anthem— for  Soprano,  Solo,  Chorus  and  Orchestra  .H.  S.  Cutler 

Luke  L,  verses  76,  77,  78,  79. 
CHoatrs. 

"Thou,  child,  ehalt  be  called  the  Prophet  of  the  Highest,  for  thou  shalt  go  before 
the  face  of  the  Lord  to  prepare  His  ways;  to  give  knowledge  of  salvation  unto  His 
people  by  the  remission  of  their  sins.'' 

SOPRANO  SOLO  AND  CHORUS. 

"  Through  the  tender  mercy  of  our  God,  whereby  the  day  spring  from  on  high  hath 
visited  us,  to  give  light  to  them  that  sit  in  darkness  and  in  the  shadow  of  death;  to 
guide  our  feet  in  the  way  of  peace." 

SANCTUS. 

"Holy  !  Holy  !  Holy  !  Lord  God  of  Sabaoth.  The  heaven  and  earth  are  full  of  Thy 
glory.  Hosanna  in  the  highest  1  Blessed  is  he  that  cometh  in  the  name  of  the  Lord 
Heaven  and  earth  are  full  of  Thy  glory.   Hosanna  in  the  highest  I" 

Soloist,  Miss  Corlette. 

2.  Second  Concerto  in  D  minor.  Op.  23,  for  Piano  and  Orchestra  E.  A.  Mac-Dowell. 

Larghetto  calmato,  Poco  piu  mosso. 
Presto,  giocoso, 

Largo,  Molto  Allegro, 
Mr.  Mac-Dowell. 

3.  An  Island  Fantasy— for  Orchestra,  Op.  44  (M.  S.)  John  K.  Paine 

The  subject  of  this  symphonic  poem  was  suggested  by  the  memory  of  summer  days 
by  the  seaside,  amid  the  varied  scenes  of  ocean  life— calm  and  sunshine  alternating  with 
ocean  surge  and  storm. 

4.  Love  Song— for  Soprano,'^Solo  and  Orchestra  (M.  S.)  Ad.  M.  Foerster 

Soloist,  Miss  Vogel. 

5.  Second  Suite— in  D  major,  Op.  21,  for  String  Orchestra  (M.  S. .  Arthur  Foote 

Prelude. 

Intermezzo. 
Air. 

Gavotte. 

6.  Selections  from  Oratorio  "Jerusalem, ".for  Soprano  Solo,  Chorus  and  

Orchestra   Hugh  A.  Clarke 

SOLO. 

Isaiah  Ixii:  verses  6,  7  and  11. 
I  have  set  watchmen  upon  thy  walls,  O  Jerusalem,  which  shall  never  hold  their 


164 


MUSIC  teachers'  national  association. 


peace  day  nor  night;  ye  that  make  mention  of  the  Lord,  keep  not  silence,  and  give  Him 
no  rest,  till  He  establish,  and  till  He  make  Jerusalem  a  praise  in  the  earth.  The  Lord 
Himself  hath  proclaimed  unto  the  end  of  the  world,  Say  ye  to  the  daughter  of  Zion, 
Behold,  thy  salvation  cometh. 

CHOKtrS, 

Isaiah  lii. ;  verses  1  and  2. 
Awake,  awake:  put  on  thy  strength,  O  Zion;  put  on  thy  beautiful  garments,  O 
Jerusalem,  the  holy  city.    Shake  thyself  from  the  dust;  arise,  and  sit  down,  O  Jeruea- 
lem:  loose  thyself  from  the  bands  of  thy  neck,  O  captive  daughter  of  Zion. 

Soloist,  Mrs.  Whittemore, 
(Chickering  Piano  used.) 

SECOND  DAY,  DETROIT  OPERA  HOUSE. 

9:45  A.  M.,  Thursday,  July  3d,  1890. 

Tlie  meeting  was  called  to  order  by  the  President,  and  the  exercises 
for  the  day  were  opened  by  Harrison  M.  Wild,  of  Chicago,  with  the  fol- 
lowing organ  solos  : 

Grand  Chorus  Dialogue,  by  Gigout. 

Communion,  Op.  4,  No.  1,  by  Batiste. 

Introduction  and  Fugue,  Op.  Guilmant. 

Organ  department  essays  followed  by  A.  A.  Stanley,  of  Ann  Arbor,. 
Mich.;  Sumner  Salter,  of  New  York,  andilJ.  Frank  Donahue,  of  Boston. 

In  the  Composition  department  essays  were  read  by  Frederic  Grant 
Gleason,  of  Chicago,  Johann  H.  Beck,  of  Cleveland,  and  C.  L.  Capen,  of 
Boston. 

A  motion  was  made  by  Mr.  Leckner,  and  carried,  that  the  attention 
of  the  Sub-section  devoted  to  the  organ  on  the  Committee  upon  a  Na- 
tional Method.of  Instruction  be  called  to  the  suggestions  of  Mr.  Stanley's 
paper. 

report  of  thk  committee  on  the  president's  address. 

Ist.  That  Sec.  1,  Art.  5,  of  the  Constitution  be  amended  byinserting^ 
after  the  first  sentence  of  said  section  the  words:  "Vice-Presidents  shall 
be  appointed  by  the  President,  with  the  approval  of  the  Executive  Com- 
mittee, to  serve  for  the  term  of  one  year,  subject  to  removal  for  cause  by 
the  unanimous  vote  of  the  Executive  Committee." 

2d.  That  the  Secretary  shall  i)ublish,  in  connection  with  the  oflficial 
report,  the  Constitution  and  By-Laws,  and  also  the  substance  of  all  reso- 
lutions and  measures  whensoever  adopted,  which  shall  have  been  made 
the  permanent  rule  for  the  work  of  the  Association. 

3d.  That  the  Secretary  be  instructed  to  send  a  copy  of  all  past  re- 
ports obtainable,  and  a  copy  of  all  future  reports  to  the  chief  public 
libraries  in  the  following  cities  :  Boston,  New  York,  Philadelphia,  Balti- 
more, New  Orleans,  Buffalo,  Albany,  Cleveland,  Detroit,  Indianapolis, 
Cincinnati,  St.  Louis,  Chicago,  Denver,  Pittsburg,  San  Francisco,  Port- 
land and  Seattle. 

4th.  That  the  Association  assume  its  proper  title,  as  adopted  at  New 
York  in  1885,  viz. :  Music  Teachers'  National  Association,  The  American 
Society  for  the  Promotion  of  Musical  Art;  and,  further,  that  the  Executive 


secretary's  report. 


165 


Committee  be  instructed  to  take  proper  steps  for  the  legal  change  of  the 
corporate  name. 

5th.  Upon  the  advice  of  the  Vice-Presidents,  we  recommend  that  an 
extraordinary  meeting,  in  harmony  with,  and  as  a  part  of  the  Official 
Program  of  the  World's  Fair,  be  held  in  Chicago  in  1893. 

6th.  That  the  last  clause  of  Paragraph  6,  Sec.  3,  of  Art.  9,  of  the 
Constitution,  beginning  with  the  words,  "And  in  no  case  shall  the  Pro- 
gram Committee  allow,"  be  stricken  out,  and  the  following  substituted  : 
"And  the  Program  Committee  shall  make  up  the  programs  from  compo- 
aitions  thus  accepted  by  the  Board  of  Examiners,  supplemented,  as  they 
may  deem  advisable,  by  selections  from  other  sources." 

7th.  To  lamend  Sec.  2,  Paragraph  D,  of  Art.  4.  of  the  Constitution, 
by  striking  out  "A  fee  of  two  dollars,"  and  inserting  "Not  less  than  five 
dollars  nor  more  than  ten  dollars,  according  to  the  decision  of  the  Execu- 
tive Committee,  which  fee  shall  entitle." 

8th.  That  the  Official  Stenographer  be  instructed  to  make  two  copies 
of  his  report  of  the  proceedings,  and  that  he  transmit  one  of  these  copies 
to  the  President,  and  the  other  to  the  Secretary  within  two  weeks  from 
the  close  of  the  session. 

9th.  We  would  also  recommend  that  it  be  made  a  permanent  rule,  as 
long  as  the  Association  shall  last,  to  head  the  membership  list  in  each 
annual  report  with  the  names  of  those  who  originated  and  signed  the 
call  for  the  first  meeting  in  1876,  under  the  title  of  "  Founders  of  the 
Association." 

(Signed,)  Chas.  W.  Landon. 

Arthur  Foote. 
Frederic  W.  Root. 

11:30  A.  M. 

CHAMBER  CONCERT,   American  Compositions. 


PianietB.— Arthur  Poote  Boston,  Mass 

Adolph  Koelling    Chicago,  111 

Vocalists.— Mies  Jennie  M.  Stoddard  Detroit  Mich 

Francis  Campbell  Grand  Rapids,  Mich 

The  Detroit  Philharmonic  Club   Detroit,  Mich 

Accompaniets.— Emilio  Ajramonte  New  York 

Edward  T.  Remick  Detroit,  Mich. 


PROGRAM. 

1.  Quartet  in  A  minor  (M.  S.) . . .'  F.  X.  Arens 

Allegro  energico. 
Adagio. 

Menuetto  (grazioso.) 
Presto. 

Detroit  Philharmonic  Club. 

«.   SongB— a.  "  The  Sands  o'  Dee,"  Emily  Bruce  Roelofson 

b.  How  Shall  I  Sing  to  My  Fair  One?  "  C.  Whitney  Coomba 

c.  "  Dreamland  Ferry,"   Edward  T.  Remick 

Miss  Stoddard. 


166  MUSIC  teachers'  national  association. 

3.  Quintet— for  Piano,  Violins,  Viola  and  'Cello  G.  W.  Chadwick 

Allegro  sostenuto. 

Andante  cantabile. 
Allegretto 

Allegro  energico. 
Mr.  Foote  and  Philharmonic  Clnb. 

4.  Song«  a.  "Marie,"  F.  N.  Shepperd 

b.  "The  Violet,"  Helen  Hood 

c.  "King  Death,"  G.  W.  Chadwick 

Mr.  Campbell. 

5.  Quartet  in  C  minor,  Op.  1,  for  Piano,  Violin,  Viola  and  'Cello  Adolph  Koelling 

Allergro  energico. 

Allergretto  scherzando. 
Andante  con  moto. 

Allergro  moderato. 
Mr.  Koelling  and  Philharmonic  Club. 

(Chickering  and  Hallet  and  Dnvis  Pianos  used.) 


PHILHARMONIC  HALL,  July  8,  10  a.  m. 

PUBLIC  SCHOOL  MUSIC  SECTION. 

N.  Coe  Stewart  presiding. 

The  music  part  of  the  exercises  were  prepared  by  Mrs.  Emma  A* 
Thomas,  Superintendent  of  Music  in  the  Detroit  Public  Schools,  and  were 
directed  by  her. 

THE  PROGRAM. 

Chorus— "To  Thee,  0  Country  I"  Eichberg 

Class  from  Everett  School,  Detroit. 

Essay—"  Our  Duty  as  an  Association  of  Public  School  Music  Teachers." 

Luther  Whiting  Mason,  Boston,  Mass . 

Essay— "  Musical  Education  for  the  Masses." 

W.  F.  Heath,  Fort  Wayne,  Ind. 

Aria—"  Angela  Ever  Bright  and  Fair,"  Hfendel 

Master  Cyril  Eoderick  Tyler, 
Soprano  Soloist  Grace  Church  Vested  Choir,  Detroit. 

Essay— "Tonic-Sol-Fa as  an  Expression  of  the  Psychology  of  Music." 

Theodore  F.  Seward,  East  Orange,  iSf«w  Jersey. 

Chorus— "Lightly  My  Bark,"  Minard 

Class  from  Detroit  Schools. 

Discussion  of  the  above  essays  were  participated  in  by  many  of  the 
members.    They  will  be  found  in  their  proper  places. 

DETROIT  OPERA  HOUSE,  Thursday  Afternoon,  July  3. 

Exercise  opened  with  an  organ  solo  by  S.  C  Batclielder,  of  Detroit. 

In  the  vocal  department  essays  were  read  by  Edmund  J.  Myer,  of 
I^ew  York;  Emilio  Belari,  of  New  York,  and  Jules  Jordon,  of  Pro- 
vidence, R.  I. 


secretary's  report. 


167 


3:30  A.  M. 

VOCAL  RECITAL. 


Vocajists.— Mr8.  Ida  Norton  Detroit,  Mich 

Jules  Jordan  Providence,  B.  I 

Pianist.— Julius  V.  Seylcr  Detroit,  Mich 

Accompanists.— Arthur  Foote  Boston,  Mass 

J.  H.  nahn  Detroit,  Mich 

PROGRAM. 

1.  a.  "My  Love's  Jewels,"  C.  F.  Dennee 

b.  "  Be  Strong,"  (M.S.)  J-  H.  Hahn 

c.  "Longing,"  (M.  S.)  James  H.  Roger& 

d.  "I've  Found  a  Perfect  Happiness,"  (M.  S.)  Clayton  Johns 

Mrs.  Norton, 

2.  Piano  Sulo.—a.  Miniature  iu  C  major,  (M.  S.)  Thos.  H.  Chilver& 

b.  Berceuse,  Op.  1,  No.  1  C.  E.  Piatt 

c.  Mazurka  Caprice,  Op.  3,  No.  2,  (M.  S.)  J-  H.  Haha 

d.  Rhapsodie  Hongroise,  No.  12   Liszt 

Mr.  Seyler, 

8.   The  Fiiir  Margelone,  Op.  33  >  Brahms 

a.  "Hoi  Broadsword  and  Spear,"  (No.  2.)  ,  

b.  "Are  they  Sorrow,  are  they  Pleasure."  (No.  3.)    " 

c.  "Rest  Thee  in  Shadow,"  (No.  9.)   " 

d.  "  O,  Joy  Without  Measure,"  (No.  6.)   " 

Mr.  Jordan. 


4.    a.  "  Ojala,  Would  She  Carry  Me?"  

b.  "  How  Long,  Dear  Love,  will  You  Remember?  "  (M.  S.) 

c.  "PhylliB,  the  Fair,"    

d.  "Ring  Out,  Wild  Bells,"  

Mrs.  Norton. 

(Hallett  &  Davis  Piano  used.) 

The  President  announced  that  the  time  had  arrived  for  the  election 
of  officers  for  the  ensuing  year. 

The  Secretary  read  the  list  of  names  previously  nominated  by  the 
Board  of  Vice-Presidents,  and  posted  upon  the  bulletin,  as  required  by 
the  Constitution,  the  Chairman  of  the  Program  Committee  having  been 
left  blank. 

Mr.  Stanley  nominated  Wilson  G.  Smith,  of  Cleveland. 

Mr.  Sternberg  moved  that  the  Secretary  cast  the  ballot  for  J.  H. 
Hahn,  of  Detroit,  for  President.    Carried  unanimously. 

Mr.  Hattstadt  moved  that  the  Secretary  cast  the  ballot  for  H.  S. 
Perkins,  of  Chicago,  for  Secretary.    Carried  vinanimously. 

Mr.  Mueller  moved  that  the  Secretary  cast  the  ballot  for  W.  F.  Heath, 
of  Indiana,  for  Treasurer.    Carried  unanimously. 

By  order  of  the  Convention  the  Secretary  cast  the  ballot  for  Wilson 
G.  Smith,  as  Chairman  of  the  Program  Committee. 

On  motion  of  Mr.  Heath,  the  Convention  ordered  the  Secretary  to 
cast  the  ballot  for  N.  H.  Allen,  of  Connecticut,  for  the  second  member 


 Arthur  Foote 

A.  C.  I^Iackenzie 
  Gounod 


168 


MUSIC  teachers'  national  association. 


of  the  Program  Committee,  which  was  done.  Edmund  J.  Myer,  of  New 
York,  was  elected  by  ballot  as  the  third  member  of  the  Program  Com- 
mittee. 

By  vote,  the  Secretary  cast  the  ballot  for  the  Examining  Committee 
of  American  Compositions,  as  follows:  E.  A.  MacDowell,  of  Boston, 
chairman;  Ernest  A.  Kroeger,  of  St.  Louis;  Chas.  H.  Jarvis,  of  Philadel- 
phia; J.  H.  Rosewald,  of  San  Francisco,  alternate. 

By  order,  the  Secretary  cast  the  balloffor  J.  W.  Ruggles,  of  Fayette, 
Iowa;  C.  H.  Congdon,  of  St.  Paul,  Minn.,  and  F.  A.  Parker,  of  Madison, 
Wis.,  as  members  of  the  Auditing  Committee. 

Moved  by  Mr.  De  Roode,  and  seconded  by  Mr.  Sternberg,  that  Min- 
neapolis, Minn.,  be  the  next  place  of  meeting,  and  that  it  take  place  in 
1892.  Carried. 

It  was  voted  that  the  Secretary's  salary  for  1892  should  be  the  same 
as  for  1890. 

Moved  by  Mr.  Farnum,  and  voted:  That  the  Auditing  Committee,  to 
which  is  referred  the  report  of  the  Committee  on  Choral  and  Orchestral 
Endowment  Fund,  be  instructed  to  prepare  and  present  to  this  meeting 
a  plan  for  reorganizing  the  work  of  said  Choral  and  Orchestral  Endow- 
ment Fund  Committee,  for  defining  its  duties,  and  for  managing  the 
moneys  received,  or  that  may  be  received,  for  said  fund. 

The  Secretary  read  the  following  resolutions  presented  by  Mr.  Barbe, 
of  Mississippi: 

Resolved,  That  the  Vice-Presidents  hereafter  suggest  to  the  Program 
Committee  the  names  of  persons,  members  of  the  Music  Teachers' 
National  Association  or  not,  well  known  and  generally  recognized  as 
specialists  in  music  in  the  States  where  they  reside. 

Resolved,  That  it  shall  be  the  duty  of  the  Program  Committee  to  take 
cognizance  of  persons  thus  suggested,  so  as  to  make  the  programs  as 
nearly  national,  geographically,  as  the  nature  of  the  case  will  permit. 

Mr.  Barb^;:  The  resolutions  are  based  upon  the  idea  that  we  should 
get  representatives  once  in  a  while  from  those  artists  who  are  living  in 
more  distant  portions  of  the  country.  We  can  better  form  associations, 
and  we  have  a  better  opportunity  to  induce  music  teachers  to  join  this 
Association. 

Mr.  Wolfram  asked  that  the  President  vacate  the  chair  for  a  few 
minutes,  and  that  the  Secretary  preside. 

The  Secretary  took  the  chair  and  called  for  the  pleasure  of  the 
Convention. 

Mr.  Landon:  Mr.  Chairman,  there  are  a  great  many  expenses  con- 
nected with  the  Presidency  of  this  Association,  and  I  move  that  we  make 
a  complimentary  appropriation  of  $200  to  the  President.  Motion  sec- 
onded and  carried  unanimously. 

The  President  resumed  the  chair,  and  after  returning  thanks  to  the 
Association,  donated  $50  of  the  amount  to  the  Choral  and  Orchestral 
Endowment  Fund. 

Mr.  Abercrombie  moved  that  the  Convention  assemble  for  business 
tomorrow  afternoon  at  4:30. 


secretary's  report. 


169 


Mr.  Qleason  moved  an  amendment,  that  the  business  meeting  be 
held  directly  after  the  close  of  the  orchestral  concert.  The  motion  pre- 
Tailed. 

Several  members  engaged  in  discussion  about  the  part  which  the 
Music  Teachers'  National  Association  should  take  in  the  music  depart- 
ment of  the  World's  Fair  of  1898.  This  being  ruled  out  of  order  by  the 
Chair,  on  motion  adjourned. 

^:  00  P.  M. 

DETROIT  RINK.  Thursday  July  3. 

0ECHE8TRAL  AND  CHORAL  CONCERT.    American  Compositions. 

Theodore  Thomas,  Conductor. 

Pianist.— Mrs.  Louis  Maas   Boston,  Mass 

Vocalists.— Mrs.  B.  L.  Rouse,  Mezzo-Soprano  Cleveland,  Ohio 

W.  J.  Lavin,  Tenor  Detroit,  Mich 

E.  C.  Crane,  Baritone  Detroit,  Mich 

PROGRAM. 

1.  The  Diver— Ballad  for  Solos.  Chorus  and  Orchestra    Max  Vogrich 

Narrator  |  Mrs.  Rouse 

King's  Daughter  f   " 

Youth,..  Mr.  Lavin 

King  Mr.  Crane 

2.  Concerto— in  C  minor,  Op.  12,  for  Piano  and  Orchestra  Louis  Maae 

Allegro  Maestoso. 

Intermezzo,  Andante. 
Presto. 
Mrs.  Maas. 

3.  Suite— for  String  Orchestra,  Op.  15,  (M.  S.)  Henry  Schoenefeld 

AUergretto  grazioso. 

March  Fantastico  (allegro  vivace.) 
Laendler  (allegretto  moderato .) 

Rondo  (allegro  con  spirito.) 

4.  Recit.  and  Aria — for  Tenor  with  Orchestra,  "Remember  Now 

Thy  creator,"  (M.  S.)  Frederic  H.  Pease 

Mr.  Lavin. 

5.  Episodes— for  Orchestra,  (M.S.)  Arthur  Bird 

(No.  1,  Scene  Orientale. 

<  No.  2,  Intermezzo  and  Trio. 

(  No.  3,  Introduction  and  Fugue. 

6.  Symphony— "  The  Prodigal  Son,"  (M.  S.)  S.  G.  Pratt 

Allegro  moderato,  Maestoso. 
Adagio,  Andante. 
*  Finale  Allegro  ma  nontroppo. 

(Miller  Piano  used  ) 

DETROIT  OPERA  HOUSE,  Friday,  July  4. 

THIRD  DAY. 

9:15  A.  M. — MoRNiKG  Session,  Detroit  Opbra  House. 

Organ  Solo  Sumner  Salter,  New  York 

iSonate  Pontificale  Lemmens 

Allegro  Maderato. 
Adagio. 

Marche  Pontificale. 

Fuga— Fanfare. 


170 


MUSIC  teachers'  national  association. 


9:30  A.  M. 

ESSAYS.— The  relation  of  State  and  National  Associations. 
N.  Coe  Stewart,  Cleveland,  Ohio.     Chas.  W.  Landon,  Claverack,  N.  Y.  Johannes- 
Wolfram,  Canton,  Ohio. 
(Discussions  followed,  see  index.) 

11:00  A.  M. 

CONCERT.    Miscellaneous  Compositions. 
The  Detroit  Philharmonic  Club.  ^ 

"Violinist. — J.  H.  Rosewald  San  Francisco,  Cal. 

Vocalists.— Mrs.  Chas.  Wright   ■  Detroit,  Mich. 

Mme.  Julie  Rosewald   .  .San  Francisco,  Cal. 

Pianists,— Miss  Marie  Miller  Piqua,  Ohio 

Miss  Laura  Schafer    " 

Accompanist.  — Emilo  Agramonte  New  York 

PROGRAM. 

1.  Quartet  in  G  major,  Op.  18,  No,  2  Beethoven 

Allegro. 

Adagio  Cantabile. 

Scherzo  (Allegro) . 

Allegro  molio  quasi  Presto. 

Detroit  Philharmonic  Club. 

2.  Songs— a.  "Ah;  'Tis  a  Dream,"   C.  B.  Hawley 

b.  "Break,  Break,  Break,"  A.  R.  Parsons 

c.  "Autumnal  Gale,"  Grieg 

Mrs.  Wright. 

3.  Toccata  for  two  Pianos  Schumann 

Miss  Miller.         Miss  Schafer. 

4.  "Vocal— a.  Prayer  Durant 

b.  Timbre  d'argent  Saint-Saens 

Mme.  Kosewald.  * 
Violin  Obligato  by  Mr.  Eosewald. 

5.  a.  Intermezzo    Gurlitt 

b.  Scherzo  Mendelssohn 

Detroit  Philharmonic  Club. 

(Knabe  Piano  used.) 

PHILHARMONIC  HALL,  Friday,  July^4,  10  a.  m. 

.    PUBLIC  SCHOOL  MUSIC  SECTION. 

Chorus— "  Here  I  Come  Creeping,"   Veazie 

Class  from  Everett  School. 

Essay—"  Elements  of  success  pertaining  to  Musical  instruction  in  Public  Schools." 
Benjamin  Jepson,  New  Haven,  Conn. 

Song—"  Over  the  Stars  There's  Rest,"   Abt 

Master  Cyril  Roderic  Tyler. 

Chorus^"  The  Foot  Traveler,"  Abt 

Class  from  Detroit  Schools. 


secretary's  report, 


171 


Essay— "Music  Instruction  in  Our  Public  Scliools." 

P.  M.  Bach,  Milwaukee,  Wis. 

Solo— Selected. 

W.  H.  Leib,  Kanfas  City,  Mo. 

Discussion  upon  the  above  essays  was  participated  in  by  Messrs. 
Mason,  Stewart,  Landon,  Perkins,  Heath,  Bach  and  others.  They  will 
be  found  in  their  proper  place  following  the  papers,  (see  index.) 

The  afternoon,  from  2  to  5,  was  devoted  to  the  orchestral  matinee  at 
the  Rink. 

Detroit  Opera  House,  5  p.  m.,  July  4. 

The  President  annoanced  that  the  Convention  was  ready  to  proceed 
with  the  business. 

At  this  point  there  were  loud  calls  for  J.  H.  Hahn,  and,  upon  coming 
to  the  stage,  he  was  introduced  to  the  Association  by  the  President. 

Mr.  Hahn  :  Mr.  President,  Ladies  and  OentUmen:  "  Brevity  is  the 
soul  of  wit."  This  promises  to  be  a  very  busy  session,  and  I  can  only 
tender  you  my  warmest  thanks  and  appreciation  for  the  distingushed 
honor  which  ha?  been  conferred  upon  me  by  this  Association. 

Mr.  Wolfram  :  I  would  like  to  be  recognized,  inasmuch  as  Mr. 
Hahn  is  here.  I  have  something  to  bring  before  the  committee,  touching^ 
Mr.  Hahn's  services  in  our  behalf.  Some  of  us  tried  to  buy  a  nice  pres- 
ent for  him,  but  Mr.  Hahn  became  aware  of  that  and  he  interposed,  so 
our  scheme  was  frustrated,  but  I  am  not  ashamed  to  offer  a  resolution 
that  will  express  exactly  what  we  think. 

Whereas,  This  wonderful  gathering  bears  everywhere  in  golden 
letters  the  imprint  "  J.  H.  Hahn,'' the  Xapoleon  of  the  Association. 
His  zeal  and  enthusiasm  being  worthy  of  the  most  enthusiastic  laudation. 
As  the  meeting  advanced,  fresh  proofs  of  his  measureless  enthusiasm  and 
untiring  labors  came  to  light,his  suggestions  evincing  his  eminent  talent, 
and  the  whole  meeting  operating  like  a  well-oiled  piece  of  mechanism. 
Therefore, 

Resolved,  That  we  feel  deeply  the  enormous  debt  we  owe  to  J.  H. 
Hahn,  and  we  regret  our  inability  to  liquidate  this  obligation,  and  offer, 
instead,  our  hearts  to  him  in  gratitude. 

Resolved,  That  this  resolution  be  signed  by  the  President  and  Secre- 
tary, and  that  the  seal  of  the  Association  be  affixed,  and  that  this  docu- 
ment be  transmitted  to  J.  H.  Hahn  as  a  souvenir  through  life  of  the  good 
will  of  the  N.  M.  T.  A. 

The  resolutions  were  adopted  unanimously. 

Mr.  Hahn  :  While  I  appreciate  my  friend  Wolfram's  very  codial  and 
kind  intention,  it  seems  to  me  it  would  be  well  to  submit  these  resolutions 
to  some  committee  for  revision,  and  I  hope  such  committee  will  be  ap- 
pointed. 

Mr.  Wolfram  :  I  object  to  one  word  being  stricken  out. 
The  President  :   We  have  a  great  deal  of  important  business  on 
hand,  and  the  chair  would  rule  that  after  this  well-warranted  and  just 


172 


MUSIC  teachers'  national  association. 


compliment  had  been  extended  to  the  President-elect,  that  hereafter  no 
more  new  business  will  be  brought  before  the  Association. 

I  will  ask  the  indulgence  of  the  house  while  the  Chair  brings  before 
the  Association  a  matter  which  would,  perhaps,  more  properly  come  at 
the  end  of  our  session  ;  but,  as  I  cannot  time  the  end  of  the  meeting,  I 
am  anxious  to  have  the  matter  brought  before  you  at  the  present  moment. 

At  the  close  of  this  meeting  my  tenure  of  Presidency  of  this  Associa- 
tion will  cease.  I  cannot  lay  down  the  duties  of  the  high  ofBce  with  which 
you  honored  me  in  Philadelphia,  a  year  ago, without  expressing  my  heart- 
felt gratitude  to  all  of  you,  fellow- officers  of  the  last  year,  and  fellow- 
members  of  many  years.  During  the  year  that  is  past  I  have  spared  you 
all  unnecessary  correspondence,  and  you  have  been  as  considerate  of  me. 
One  and  all,  we  have  attended  to  our  duties  with  little  prompting,  and 
no  nagging  or  quarreling.  This  city  of  Detroit,  famous  for  its  wide 
streets,  its  enchanting  river,  its  fair  women  and  genial,  whole-souled 
public  men,  was  so  well-known  to  us,  at  least  by  reputation,  that  Detroit 
had  but  to  speak  the  word,  and  we  most  gladly  responded  to  her  bidding 
and  came.  None  who  ever  saw  Wagner's  "  Meistersinger  "  can  forget 
the  scene  between  Walter  and  Eva  when  their  hands  are  joined  by  Hans 
Sachs,  amid  the  acclamations  and  waving  of  handkerchiefs.  For  the 
present  meeting  between  Eva  Detroit  and  Walter  M.  T,  N.  A.  we  are  in- 
debted, not  to  Hans  Sachs,  but  simply  to  Hahn,  and  I  call  upon  this  as- 
semblage to  salute,  in  true  Meistersinger  fashion  and  with  loud  acclaims, 
our  new  President,  with  the  cry  of  "  Hahn  and  Minneapolis  in  1892." 

(Amidst  cheers  and  waving  of  handkerchiefs,  the  retiring  President 
stepped  to  the  organ  and  played  a  few  of  the  opening  measures  from 
Wagner's  "Meistersinger,"  with  full  organ,  its  conclusion  being  greeted 
with  a  hearty  and  prolonged  "Ameij."  from  Secretary  Perkins,  a  la  Beck- 
messer,  which  caused  another  rousing  cheer,  the  episode  producing  spon- 
taneous, solid  merriment  and  good  feeling.) 

Mr.  Hahn  :  Mr.  President,  ladies  and  gentlemen,  this  is  becoming 
overwhelming.  If  there  are  any  more  bewildering  surprises  sprung  on 
me  I  hope  to  be  notified,  in  order  to  vacate.  I  beg  to  reiterate  my  thanks. 

The  President  :  We  will  now  proceed  with  the  business  before  us. 
The  Treasurer,  Mr.  Dana,  will  make  his  report. 

Mr.  Dana  :  I  have  presented  my  ideas  through  the  Auditing  Com- 
mittee, and  it  has  probably  been  acted  upon  by  you.  I  have  deposited 
to  our  credit  $563.56,  which  consists  of  the  following  fundg  :  Eight  life 
memberlhips,  $200  ;  subscriptions  to  the  Orchestral  and  Choral  Fund, 
$143.80,  and  the  balance,  $19.76,  making  the  amount,  in  all,  $563.56.  I 
might  say  to  you  that  within  twenty-four  hours  I  have  received  several 
further  subscriptions  to  the  Orchestral  Fund,  and  several  have  asked  me 
for  their  receipts,  which  I  have  mailed  to  them,  and  you  will  find  them 
at  your  homes  when  you  return. 

As  a  matter  of  business,  there  is  one  feature  of  our  Orchestral  Fund 
that  is,  to  me,  very  peculiar.  On  the  payment  of  $25,  you  are  promised 
that  you  will  have  no  further  membership  fees  to  pay.  The  result  is  that. 


secretary's  report. 


173 


if  we  go  on  in  this  way,  we  will  deduct  eight  per  cent  of  it  each  year, 
and  I  wish  we  might  have  stricken  out  that  feature  of  it.  It  is  nothing 
more  nor  less  than  borrowing  that  amount  and  paying  eight  per  cent, 
interest  for  it.  If  we  could  look  upon  this  $35  subscription  as  something 
given  by  you  it  would  be  better.  I  know  of  a  good  many  people  who 
would  like  to  loan  money  at  that  rate,  and  I  could  get  you  a  large  amount 
of  it  within  twenty-four  hours.  That  is  the  way  the  matter  stands.  That 
is  the  condition  of  that  fund,  and  that  is  the  feature  of  it,  to  me,  that  I 
think  is  really  misunderstood.  I  want  to  thank  the  members  and  officers 
of  this  Association  for  their  kindness  to  me  during  the  year.  My  rela- 
tions with  them  have  been  very  pleasant. 

The  President:  You  have  heard  the  Treasurer's  report.  Before  pro- 
ceeding to  put  Ihe  question  to  the  house,  in  order  to  preclude  the  supposi- 
tion of  the  necessity  of  discussing  the  matters  which  the  Treasurer  has  laid 
before  us,  I  will  state  that  provision  has  been  made  for  a  standing  com- 
mittee to  regulate  all  the  affairs  to  which  these  bills  and  the  Treasurer's 
report  refer,  and  they  will  pass  into  their  hands  upon  their  appointment, 
and  these  matters  will  be  laid  before  us  at  our  next  meeting.  We  could 
not  take  any  constitutional  action  upon  it  to-day,  under  our  rules,  so  we 
are  not  guilty  of  any  discourtesy. 

On  motion,  the  Treasurer's  report  was  accepted. 

The  President  :  The'next  business  on  hand  is  the  Secretary's  finan- 
cial report. 

The  Secretary  :  This  report  commences  with  the  settling  of  the 
business  of  last  year,  in  accordance  with  the  published  report  which  you 
have  probably  all  seen.  There  was  a  cash  balance  on  hand  of  $6.75.  I 
will  say,  by  way  of  preface,  that  whiyh  many  of  you  know,  that  at  the 
close  of  the  last  meeting  there  was  no  money  in  the  treasury.  I  was 
compelled  to  raise  the  money  in  some  way,  in  order  to  publish  the  pro- 
ceedings and  pay  the  Vice-Presidents'  expenses,  which  had  been  voted 
by  the  Association.  Enough  was  received  from  back- membership  fees 
to  pay  that  which«  had  been  voted  by  the  Association  to  the  President, 
and  the  Vice-Presidents'  bills.  That  settled  up  all  expenses  for  the  year;, 
excepting  one  item,  and  that  was  the  item  for  expense  in  publishing  the 
report.  As  I  have  stated,  there  was  not  a  dollar  in  the  treasury,  and  I 
must  get  that  report  out  or,  possibly,  be  censured  ;  at  least,  I  should  cen- 
sure myself,  although  it  is  not  the  duty  of  the  Secretary  to  raise  funds. 
By  hard  work,  I  secured  money  enough  from  advertisements  to  pay  for 
the  book,  and  leave  a  small  margin  to  go  into  the  treasury. 

The  receipts,  up  to  the  commencement  of  this  meeting,  were  $1,587.61 
from  membership  fees,  the  sale  of  reports  and  other  books  belonging  to 
the  Association.  The  expenses  have  been,  in  round  numbers,  $1,404.49. 
Itemized  :  Printing,  $534.86  ;  postage  and  sundries,  $269.63  ;  Secretary's 
appropriation,  $600.  Total,  $1,404.49.  Deducting  the  amout  paid  from 
the  amount  received  leaves  a  balance  of  $183.13. 

This  is,  perhaps,  the  best  showing  we  have  ever  had  up  to  the  begin- 


174 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


ning  of  the  Gouvention.  I  must  compliment  the  Executive  Committee  in 
managing  the  advance  sale  of  tickets 

I  desire  to  return  hearty  thanks  to  the  officers  and  members  for  the 
courtesies  extended  to  me  during  the  past  year.  Harmony  and  fraternal 
regard  have  characterized  every  business  transaction.  Even  when  I  have 
put  spurs  to  delinquent  members  they  have  responded  with  a  smile.  The 
duties  of  my  office  are  indeed  ard  uous,  and  if  I  were  to  consult  my  busi- 
ness interests,  I  should  have  to  decline  the  honor  and  burden  of  serving 
longer  as  Secretary,  for  the  pecuniary  consideration  is  no  inducement . 
in  fact,  so  much  time  is  demanded  that  my  professional  work — my  bread- 
and-butter  business — suffers.  Nevertheless,  I  thank  you  for  your  confi- 
dence and  endorsement  of  my  three-years'  past  services  by  re-elect- 
ing me  for  the  ensuing  3'ear.  I  will  serve  the  Association  to  the  best  of. 
my  abili^y. 

Mr.  Jepson  :  We  all  appreciate  the  report  just  made  by  our  worthy 
Secretary,  and,  in  connection  with  that,  I  have  a  resolution  which  I  wish 
to  offer.  I  think  it  is  conceded  on  all  hands  that  the  labors  of  the  Secre- 
tary have  been  arduous  during  the  past  year,  and  will  be  in  the  prepara- 
tion for  the  next  meeting.  We  all  believe,  and  I  think  I  voice  the  senti- 
ment of  the  Association  when  1  say  that  we  have  a  most  genial  and  effi- 
cient Secretary,  and  so  ought  to  keep  him  in  his  place.  I  therefore  offer 
the  following  resolution  : 

Resolved,  That  a  typewriter  be  purchased  out  of  the  funds  of  the  As- 
sociation and  presented  to  the  Secretary  to  aid  in  his  correspondence,  and 
that  Mr.  Heath  be  authorized  to  make  the  purchase,  and  present  it  to  the 
Secretary. 

Carried. 

On  motion  the  Secretary's  report  was  accepted. 

The  Peesident  :  The  next  business  will  be  the  report  of  the  Audit- 
ing Committee. 

Mr.  Parker  :  Mr.  rresident,  Ladies  and  Oentlemen  :  The  Auditing 
Committee  respectfully  submits  the  following  report: 

We  have  examined  the  accounts  of  the  Secretary  and  Treasurer  of  the 
Association,  and  find  in  both  instances  a  perfect  agreement  between  the 
items  of  account  and  accompaning  vouchers.  A  word  of  commendation 
is  due  these  officers,  alike  for  the  clearness  of  their  statements  of  receipts 
and  expenditures  and  their  care  in  the  preservation,  statement  and 
arrangement  of  their  vouchers. 

The  examination  of  the  Secretary's  accounts  review  the  fact  that 
at  the  close  of  the  last  session  the  treasury  was  empty,  while  the  Secre- 
tary was  expected  to  issue  the  annual  report.  Secretary  Perkins  was,  as 
usual,  equal  to  the  emergency  and  succeeded  b}^  solicitation  of  advertise- 
ments and  by  similar  means,  in  raising  a  sufficient  sum  to  cover  the  ex- 
pense, and  leave  a  small  balance  which  was  placed  to  the  credit  of  the 
Association. 

The  committee  recommend  the  following  addition  to  Section  7, 
Article  2  of  the  Constitution.     This  Article  pertains  to  the  duties  of  the 


secretary's  report. 


175 


Treasurer.  "If  any  funds  of  the  Association  be  deposited  in  any  banii, 
or  other  financial  institution,  said  funds  shall  be  deposited  in  the  name 

of    Treasurer  of  the  M:  T.  N.  A," 

The  object  of  the  resolution  is  to  furnish  a  proper  safeguard  against  loss 
by  accident  or  complication  of  accounts. 

With  reference  to  the  Orchestral  and  Choral  Concert  Fund,  your 
Committee  would  recommend  definite  action,  transferring  life  member- 
ship fees  to  this  fund  and  giving  the  proper  receipts  therefor. 

Your  Committee  is  also  of  opinion  that  the  action  of  the  Association 
at  the  Philadelphia  meeting  was  sufiiciently  explicit  to  safely  guide  the 
Committee  on  the  Orchestral  and  Choral  Concert  Fund,  but  ventures  the 
suggestion  that  the  place  of  the  outgoing  member  of  the  Auditing  Com- 
mittee-should be  filled  at  once,  and  that  the  Committee  should  meet  in 
the  near  future  for  consultation  to  devise  means  to  reach  all  members,  all 
of  which  is  respectfully  submitted. 

The  President:  The  chair  would  state  that  these  suggestions  are 
worthy  of  the  most  careful  consideration,  but  of  course,  as  they 
affect  constitutional  action,  we  cannot  take  any  action  upon  them  at 
this  meeting. 

Mr.  Landon:  The  report  has  been  posted  according  to  the  require- 
ments of  the  constitution. 

Mr.  Hahjst:  I  would  like  to  add  to  the  clause  directing  the  Secretary 
and  Treasurer  to  deposit  all  moneys  of  the  M.  T.  N.  A.  in  some 
designated  depository,  that  it  also  apply  to  the  Executive  Committee.  I 
would  like  to  amend  that  one  clause,  so  as  to  include  the  Executive  Com- 
mittee, as  well  as  the  Treasurer. 

Mr.  Land  on:  It  is  a  little  ahead  of  time,  I  think.  The  change  as 
posted  should  be  moved  first,  and  I  think  this  amendment  would  come 
afterwards.  I  move  that  it  be  referred  to  the  Committee  on  Constitution. 
The  motion  prevailed. 

The  report  of  the  Auditing  Committee  was  accepted. 

The  President:  The  next  business  in  order  is  the  reception  of  the 
report  of  the  Committee  on  the  report  of  Vice-Presidents.  Will  the 
chairman  please  step  to  the  platform. 

Mr.  Stewart:  Your  Committee  have  gone  very  carefully  over  all 
the  reports,  and  have  condensed  in  these  series  of  papers  a  report,  and 
have  also  made  some  general  observations.  But  it  seems  to  me  this  can 
just  as  well  be  printed  in  the  report  and  relieve  you  from  the  necessity  of 
listening  to  them,  unless  you  wish  to  have  to  them  read. 

Mr.  Landon:  I  move  that  the  condensed  reports  be  printed  and  not 
read. 

The  motion  prevailed. 

CONDENSED  VICE-PRESIDENT'S  REPORTS. 

VIRGINIA. 

F.  R.  Webb  reports:  No  Association  yet,  though  much  has  been  done 
looking  to  that  end.    The  leaven  is  working. 


176 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


SOUTH  CAROLINA. 

Ernst  Brockman  reports:  Not  yet  ready  for  a  State  Association. 
Too  few  teachers  and  not  enough  money.  There  is  improvement  in 
methods  and  in  the  number  studying  music.  This  is  due  largely  to  the 
fact  that  elementary  music  is  taught  in  the  public  schools,  also,  the 
M.  T.  N.  A.  exerts  a  powerful  influence.  Has  used  about  half  of  the 
advertising  material  sent,  and  issued  a  circular  of  his  own.  Has  ex- 
pended $5.00  for  postage  and  done  much  work,  and  only  asks  to  be 
accredited  a  membership. 

TENNESSEE. 

Mrs.  E.  T.  Tobey  reports:  Not  sufficient  interest  yet  to  organize  an 
Association.    Has  done  much  work. 

NEW  HAMPSHIRE. 

E.  T.  Baldwin  says:  Having  been  a  member  of  the  National 
Association  for  several  years,  and  notiDg  that  the  best  efforts  of  former 
Vice-Presidents  to  create  an  interest  in  the  M.  T.  N.  A.  and  to  secure 
members  thereto,  have  been  fruitless,  I  could  see  but  one  road  to  success, 
viz. :  First,  form  a  live  and  healthy  State  Association,  then  on  all  proper 
occasions  press  home  upon  them  the  plans  and  purposes  of  the  M.  T. 
N.  A,  and  the  advantages  of  co-operation.  Assisted  by  a  few  of  the 
faithful,  I  entered  upon  the  work.  We  have  organized  the  New 
Hampshire  M.  T.  A.  Our  plans  are  nearly  completed,  advance  programs 
issued  and  our  first  meeting  will  be  August  11  to  15.  To  speak  here  of 
the  discouragements  and  weary  hours  of  perplexing  work  which  falls  to 
the  lot  of  those  who  undertake  to  organize  State  Associations  would  be 
like  "  carrying  coals  to  New  Castle,"  you  know  all  about  it,  and  will 
readily  understand  why  I  have  done  but  little  this  year  for  theM.  T.  N.  A. 
I  have,  however,  distributed  circulars,  and  sold  all  the  official  reports 
sent  me,  and  have  given  much  time  to  sowing  the  good  seed.  We  hope 
to  show  you  samples  of  the  fruit  at  the  next  session  of  the  M.  T.  N.  A. 

ILLINOIS. 

Colvin  B.  Cady  reports  as  follows :  At  the  request  of  the  Executive  Com- 
mittee of  theM.  T.  N.  A.  it  was  decided  by  the  Executive  Committee  of 
the  State  Associations  to  postpone  the  State  Association  for  one  year. 
Sent  the  official  program  to  nearly  one  thousand  teachers  of  the  state, 
also,  had  printed  a  concise  statement  of  the  program  of  this  meeting  and 
sent  to  over  five  hundred,  together  with  a  circular  letter  requesting  its 
publication  in  the  papers.  * 

CALIFORNIA. 

J.  H.  Rosewald  reports:  State  Associations  disbanded,  although  great 
effort  was  made  to  hold  it  together.  They  ask,  "  Of  what  use  is  the 
Association  to  us  of  the  Pacific  Coast?  "  I  cannot  give  a  satisfactory  reply. 
Suggest  as  a  remedy  to  place  some  Coast  members  in  the  several  com- 
mittees. 


secretary's  report. 


177 


INDIANA. 

W.  F.  Heath  reports:  Our  State  Association  postponed  its  meeting 
in  favor  of  the  M.  T.  N.  A.    Hope  for  a  fine  meeting  in  1891. 

TEXAS. 

Horace  Clark  reports:  State  Association  is  progressing  finely,  and 
the  meeting  to  be  held  June  25  and  26,  bids  fair  to  excel  all  the  others  in 
interest  and  attendance.  We  are  encouraged.  There  is  no  bill  of 
expense  to  the  Music  Teachers'  National  Association,  as  I  contribute  all 
I  have  paid; 

MISSISSIPPI. 

N.  A.  Barbe  reports:  Appointment  received  March  1.  Entered  at 
once  into  correspondence  with  teachers.  Received  but  one  answer,  and 
tjiat«vas  from  Fred  G.  Talen,  of  Vicksburg. 

OREGON. 

E.  Cook  reports:  No  State  organization;  towns  too  far  apart,  and 
railroads  will  not  give  reduced  rates.  Will  not  join  the  Music  Teachers' 
National  Association,  because  too  far  away  and  can  buy  report  for  25 
cents  and  receive  all  the  benefits.    Sees  some  light. 

NEW  JERSEY, 

Henry  Harding  reports:  Could  not  do  the  work  necessary  to  organ- 
ize a  State  Association.  Next  year  hope  to.  Music  Teachers'  Nati'onal 
Association  members  from  New  Jersey  have  increased  more  than  100 
per  cent.  They  favor  biennial  meetings  of  the  Music  Teachers'  National 
Association  and  State  meetings  in  April  or  December. 

CONNECTICUT. 

N.  H.  Allen  reports:  I  thought  a  State  Association  could  not  be 
organized.  But  we  went  to  work  and  it  was  done,  and  the  success  sur- 
prised everybody.  Began  in  August  to  get  names;  in  December  issued 
1,200  circulars,  inclosing  in  each  a  membership  blank.  In  March  I  had 
100  enrolled.  I  then  decided  to  have  a  meeting.  Then  decided  place, 
date,  sent  outline  of  program,  and  as  a  result  we  have  over  350  active 
members,  and  over  600  associated  members.  No  musical  occasion  in  the 
State  was  ever  so  successful.  The  hall  was  too  small  to  hold  the  people, 
and  another  could  not  be  procured.  Over  $200  will  be  handed  over  to 
the  Treasurer.  The  next  meeting  is  very  promising.  Have  pre  cured 
four  members  for  the  Music  Teachers'  National  Association.  Have 
worked  so  hard  for  the  State,  I  could  do  but  little  for  the  Music  Teach- 
ers' National  Association. 

COLORADO. 

Otto  Pfefferkorn  reports:  No  State  Association  yet;  distances  too 
great.  The  suspicious  air  left  by  the  red  men  not  yet  scattered.  If  you 
could  come  and  hold  a  meeting  of  the  Music  Teachers'  National  Associa- 
tion in  the  nice  church  pictured  in  Harper's,  it  would  stir  us  up. 


178 


MUSIC  TEACHERS'  NATIONAL  ASSOCIATION. 


NEW  YOEK. 

Chas.  W.  Landon  reports:  The  Music  Teachers'  Naiional  Association 
was  advertised  in  the  Annual  Report  of  the  New  York  State  Music 
Teachers'  Association,  in  the  circular  of  information  (edition  of  17,000), 
in  the  Advance  Program  (an  edition  of  17,000),  and  the  special  attention 
of  the  county  vice-presidents  of  the  New  York  State  Music  Trachers' 
Association  was  called  to  the  Music  Teachers'  National  Association. 
Many  of  the  circulars  and  application  blanks  of  the  Music  Teachers' 
National  Association  were  sent  to  leading  musicians,  and  the  President's 
address  before  the  meeting  of  the  State  Association  at  Saratoga  Springs 
gives  a  paragraph  to  the  interests  of  the  Music  Teachers'  National  Asso- 
tion.  New  York  State  Music  Teachers'  Association  had  a  membership  at 
its  Saratoga  meeting  of  about  1,650.  Also  some  articles  were  published 
in  the  music  journals  for  the  work  of  the  Music  Teachers'  National  Asso- 
ciation, including  one  that  I  wrote  for  the  Orchestral  and  Choraf  Fund. 
A  package  of  annual  reports  of  the  Philadelphia  meeting  of  the  Music 
Teachers'  National  Association  were  received,  some  given  away,  some 
sold,  and  I  have  some  copies  of  past  years.  Expenses  for  express  have 
been  larger  than  the  receipts  for  reports  sold.  I  cheerfully  donate  the 
balance. 

KANSAS. 

John  W.  Metcalf  reports:  No  State  Association.  Distributed  circu- 
lars and  other  matter  sent  him.  Sold  one  report.  Donates  postage 
expense,  etc. 

MINNESOTA. 

Walter  Fr.  Petzet  reports:  Musicians  talk  of  organizing  a  State  Asso- 
ciation, and  if  the  Music  Teachers'  National  Association  comes  here  we 
can  do  it.  The  possibility  of  its  coming  here  has  stimulated  things  won- 
derfully. -Sent  $18  for  membership  fees  to  the  Secretary,  and  cash  for 
8  reports.  Gave  concert  for  Music  Teachers'  National  Association,  but 
it  did  not  pay  expenses.    I  donate  my  efforts  and  shortage. 

WEST  VIRGINIA. 

Lily  R.  Church's  report  is  complete  in  detail  as  to  letters  sent,  circu- 
lars, answers,  visits,  newspapers,  moneys  received  and  expended,  list  of 
new  members,  etc. 

MISSOURI. 

M.  I.  Epstein  reports:  No  State  Association,  though  many  letters 
sent,  and  considerable  effort  made.  A  number  of  new  members  for 
Music  Teachers'  National  Association  secured.  All  expenses  donated  to 
Orchestral  Fund. 

VERMONT. 

M.  H.  Eddy  reports:  I  hope"you  will  pardon  me  for  not  making  my 
report  before  this,  but  to  say  the  least  I  have  no  report  to  make.  Have 
often  wondered  why  the  Vice-Presidents  of  Vermont  didn't  ''wake  up" 


secretary's  report. 


179 


and  do  something  in  regard  to  forming  a  State  Association,  but  I  see  it 
all  now:  "One  swallow  does  not  make  a  summer." 

Have  written  several  letters  and  as  I  have  traveled  about  this  part 
of  the  state  some,  have  met  the  more  prominent  teachers,  and  the  most 
encouragement  I  have  received  was  that  such  an  association  would  be  a 
nice  thing,  but  they  had  no  money  to  put  into  it  or  to  become  members 
of  the  M.  T.  N.  A.,  so  what  is  a  fellow  to  do  here  in  the  northeast 
corner  of  Vermont  alone,  with  no  one  to  help  him?  Not  one  of  the 
M.  T.  N.  A.  reports  for  1889  the  Secretary  sent  me  have  been  sold. 

I  regret  to  say  that  business  is  such  that  I  cannot  attend  the  meeting 
at  Detroit,  and  as  yet  have  not  been  able  to  hear  of  any  one  that  is  to 
attend  from  Vermont.  Should  there  be  one  at  the  meeting,  you  may 
appoint  him  or  her  to  act  in  my  place. 

What  expense  I  have  been  to  I  will  donate. 

WASHINGTON. 

F.  Mueller  reports:  A  good  many  letters  written.  One  new  member 
of  the  M.  T.  N.  A.  A  choral  society  soon  to  be  organized,  also  an 
orchestra:  Art  soon  limps  along  after  material  development.  The 
*'Baby  State,"  not  10  years  old,  already  has  much  art  within  its  borders, 
and  which  will  soon  be  organized  into  an  Association.  Much  more 
would  have  been  done,  but  fire  devasted  the  country  and  it  has  required 
much  time  to  rebuild. 

NORTH  DAKOTA. 

Mrs.  F.  Klapp  reports  :  Pianos  are  multiplying.  Teacher's  time 
fully  occupied.  Students  anxious  to  get  thorough  instruction.  Some 
new  members  of  the  M.  T.  N  A.,  bijt  no  State  Association  yet.  Have 
sent  over  thirty  new  addresses  to  the  Secretary.  Choral  societies  organ- 
ized, and  much  work  done.   Donate  all  expenses. 

WISCONSIN. 

J.  C.  Fillmore  reports:  Illness  prevented  the  organization  of  a  State 
Association,  but  considerable  work  of  a  general  nature  has  been 
done. 

UTAH. 

J.  P.  Meakin  reports:  Some  work  done  but  little  interest  aroused. 

IOWA. 

A.  Rommel  reports:  Personal  solicitation  for  M.  T.  N.  A.  members 
has  been  quite  successful.  Letters  not  answered.  There  would  be 
greater  interest  here  if  the  M.  T.  N.  A.  were  a  delegates'  body.  Have  a 
very  prosperous  State  Association,  but  the  majority  feel  that  the  National 
is  foreign  to  them.  This  would  instantly  change  if  the  M.  T.  N.  A.  were 
a  delegate  body. 

PENNSYLVANIA. 

Chas.  A.  Jarvis  reports:  Considerable  work  done  in  the  way  of 
sending  out  circulars,  etc.,  and  suggests  biennial  meetings. 


180 


MUSIC  teachers'  national  association. 


KENTUCKY. 

R.  de  Roode  reports:  State  Association  meeting  postponed  at  the 
request  of  the  officers  of  the  M.  T.  N.  A.  Much  work  done  in  mailing 
statement  of  postponement  of  meeting  and  Orchestral  Fund  documenta. 
Sends  in  $5.00  from  Miss  Bird;  $5.00  from  Mrs.  Ballard,  Lexington;  $5.00 
from  Miss  Walters,  Cynthiana;  $2.00  from  Miss  Pete,  Millerburg,  and 
$8.00  of  his  own,  making  $25.00  in  all  for  the  Orchestral  Fund.  He 
presents  a  bill  of  $16.00  for  expenses,  to  which,  when  it  is  paid  to  him,  h« 
proposes  to  add  $9.00,  making  another  $25.00,  $50,00  in  all,  and  donate  it 
to  the  Orchestral  Fund. 

ALABAMA. 

C.  S.  Doyle  reports:  Some  work  done.    Donate  expenses. 

NORTH  CAROLINA. 

W.  H;  Neave  reports:  The  musical  conditions  in  North  Carolina  are 
undergoing  a  very  needed  change  for  the  better,  and  the  near  future 
gives  promise  of  sterling  and  permanent  musical  excellence  in  every 
ramification  of  the  art. 

NEBRASKA. 

Minnie  D.  Cochran  reports :  Could  not  sell  the  official  reports,  advises 
that  they  be  given  away.  Sent  circulars  and  programs  of  the  Detroit 
meeting  all  over  the  State. 

MONTANA. 

Mrs.  Emily  J.  McMillan  reports:  Is  sorry  to  make  a  report  that 
sounds  like  nothing  at  all.  While  the  climate  and  scenery  are  all  that 
can  be  desired,  music  has  scarcely  been  born.  Distributed  the  official 
report  sent  by  the  Secretary  and  Detroit  programs.  Helena  is  the 
leading  musical  town  in  the  State,  the  V.  P.  should  be  located  there. 
Resigns. 

ARKANSAS. 

Mrs.  L.  Herwagen  reports:  Sorry  not  to  be  able  to  attend  Detroit 
meeting.  Has  distributed  the  reports  and  circulars.  Labored  to  secure 
new  members  but  without  success.  Is  not  much  encouraged  with  the 
outlook  in  the  State.  Will  cheerfully  render  assistance  to  any  other 
person  whom  the  President  may  appoint  to  serve  in  my  stead. 

TENNESSEE. 

Mrs.  E.  T.  Tobey  reports:  Regret  not  to  be  at  Detroit.  Press  notices 
and  circulars  have  been  sent  out.  The  outlook  for  a  State  Association  is 
not  encouraging,  but  hopes  for  an  improvement  next  year.  Donate  ex- 
penses. 

SOUTH  DAKOTA. 

Myra  Ross-Wagoner  makes  the  following  characteristic  report:  "Am 
aware  I  should  make  some  kind  of  a  report  of  South  Dakota.  Will  not 
be  able  to  attend  the  M.  T.  N.  A.  this  year  because  I  am  engaged  in 


secretary's  report. 


181 


strengthening  the  body  and  forming  the  mind  of  the  future  American 
Prima  Donna  Contralto. 

South  Dakota  is  full  of  wind,  Artesian  water,  the  gooseberry  peddler, 
(the  noble  red  man,)  Norwegians,  Bohendians,  Scandinavians,  Boston- 
ians,  and  great  possibilities,  therefore  is  destined  to  become  in  the 
near  future  a  great  musical  centre.  The  Indian  blows  in  the  brass 
band,  the  Bohemian  plays  upon  the  accordion,  the  Norwegian  owns  a 
cabinet  organ,  the  Scandinavian  sings  in  a  chorus,  and  the  Bostonian, 
everybody  knows  what  the  Bostonian  can  do,  he  lives  in  the  larger  towng 
and  cities,  and  cultivates  the  voices,  and  conducts  the  choral  unions» 
and  sings  the  baritone  solos,  and  bosses  things  generally,  just  like  he 
does  in  other  States,  and  is  worshiped  accordingly  and  never  criticised. 

There  is  no  State  organization,  but  if  the  M.  T.  N.  A.  will  come  to  the 
Northwest  next  year,  as  it  should  do,  there  will  doubtless  be  one  organ- 
ized. 

Have  sent  out  all  the  circulars.  That's  all  I  know  about  South 
Dakota." 

OBSERVATIONS  OF  THE  COMMITTEE  ON  V-P'S  REPORTS. 

Reports  indicate  a  varied  condition  of  musical  interest  in  the  several 
States.  In  some,  matters  seem  ripe  for  a  State  Association,  and  have 
only  awaited  some  one  to  make  the  first  movement.  In  others  the  pro- 
longed energy  of  the  Vice-Presidents,  have  only  succeeded  in  stirring  up 
the  musicians  to  think  about  it.  In  still  other  States  there  seems  to  be 
obstacles,  as  distance,  expense,  etc.,  which  cannot  readily  be  overcome. 
But  there  has  been  work  done  by  all  the  V  P's,  and  the  reports,  which 
have  been  read  very  carefully,  show  conclusively  that,  barring  the  local 
standing,  of  the  V-P's',  progress  in  organizing  State  Associations,  and 
arousing  interest  in  the  M.  T.  N.  A.  has  been  in  proportion  to  the  charac- 
ter of  the  effort  made.  Where  this  effort  has  been  systematic,  vigorous, 
and  persistant,  excellent  results  have  followed.  When  it  has  been 
.merely  perfunctory,  only  a  rustle  and  settling  back  to  old  conditions 
hav^  resulted. 

Your  Committee  earnestly  recommend  the  continuance  of  well 
planned,  energetic  and  continued  effort  on  the  part  of  the  Vice  Presi- 
dents, to  arouse  public  sentiment  to  the  necessity  of  association  as  an 
element  in  musical  progress,  and  that  they  secure  as  far  as  possible  the 
co-operation  of  musicians,  and  keep  moving  in  spite  of  adverse  opinions, 
in  the  direction  they  propose,  and  we  think  the  reports  all  indicate  that 
success  is  certain. 

In  nearly  every  case  expenses  have  been  donated.  Only  a  small  sum 
can  be  allowed  for  actual  expenses  to  every  Vice-President,  and  we  recom- 
mend that  no  charge  be  made  for  the  service  of  Secretary  or  the  Vice- 
Presidents'  time. 

M.  CoE  Stewart. 

Max  Leckner. 

H.  C.  Macdougall. 


183 


MUSIC  teachers'  national  association. 


Mr.  Stewart :  There  is  another  matter  I  wish  disposed  of.  We  have 
made  some  recommendations  respecting  them,  but  it  appeared  to  us  we 
were  not  competant  authority  to  direct  certain  bills  to  be  paid.  There 
are  only  one  or  two;  one  was  an  item  for  secretary's  services,  the  other 
was  a  charge  of  $16.00,  accompanied  with  the  request  that  it  should  be 
paid,  to  which  amount  the  Vice  President  who  made  the  suggestion 
would  add  $9.00  and  then  pass  the  entire  donation  over  to  the  Orchestral 
Fund.  This  would  malfe  $25.00  additional  to  what  he  had  already  sub- 
scribed to  the  fund,  making  $50.00  in  all.  This  was  Mr.  de  Roode  of 
Kentucky.  I  felt  that  some  acknowledgement  was  due  Mr.  de  Roode 
for  his  proposition.  Another  bill  was  presented  and  it  seems  to  me  it 
ought  to  be  referred  to  the  Executive  Committee,  rather  than  to  our 
committee.  If  some  one  will  kindly  relieve  the  committee  by  offering  a 
resolution  that  these  bills  be  handed  over  to  the  Executive  Committee, 
I  should  be  glad.    On  motion  it  was  so  ordered. 

RESOLUTIONS. 

Mr.  Towers:  Mr.  President — This  Committee  beg  to  submit  the  fol- 
lowing report: 

Besolved,  1.  That  the  best  thanks  of  the  members  of  the  Music 
Teachers'  National  Association  be  voted  to  the  President,  Albert  Ross 
Parsons,  for  the  great  ability,  tact  and  courtesy  with  which  he  has  dis- 
charged the  onerous  duties  of  his  oflQce.  To  the  retiring  Treasurer,  W. 
H.  Dana;  to  the  Secretary,  H.  S.  Perkins,  and  to  the  Executive,  Program 
and  other  committees,  for  their  untiring  zeal  for  and  devotion  to  the  best 
interests  of  this  Association.  Also  to  the  eflBcient  Board  of  Vice-Presi- 
dents, who  have  so  faithfully  and  efficiently  performed  their  duties. 

Resolved.,  2.  That  the  thanks  of  the'Association  be  voted  to  the  essay- 
ists, soloists,  accompanists  and  chorus,  as  w^ell  as  to  the  makers  who  fur- 
nished the  piano-fortes,  and  the  composers  who  loaned  their  music  for 
the  various  concerts. 

ResoUed,  3.  That  the  thanks  of  the  Music  Teachers'  National  Asso- 
ciation be  voted  to  all  those  who  have  contributed  to  its  financial  support. 

Resolved,  4.  That  the  most  cordial  vote  of  thanks  possible  be  accorded 
to  His  Excellency,  Cyrus  G  Luce,  Governor  of  Michigan,  and  to  James 
B.  Angell,  LL,  D.,  President  University  of  Michigan,  for  their  kindly 
and  courteous  words  of  greeting;  to  J.  H.  Hahn,  and  the  gentlemen  who 
have  so  zealously,  untiringly  and  successfully  worked  with  him  on  the 
reception  committee;  to  the  citizens  of  Detroit  generally,  and  to  Messrs. 
Farrand  &  Votey  in  particular,  for  their  unstinted  and  generous  hospi- 
tality and  support;  also  for  the  large  pipe  organ  placed  in  the  Opera- 
house  gratis,  for  our  use;  to  the  Common  Council  for  decorating  the 
Court-house;  to  C.  J.  Whitney  &  Co.  fcr  the  free  use  of  the  Detroit 
Opera  house;  to  the  Philharmonic  club,  to  Miss  Emma  A.  Thomas,  for 
her  efficient  labors  in  the  Public  School  section;  to  St.  Paul's  vested 
choir,  to  the  ladies  who  gave  us  the  reception,  to  Major  Howes,  the  Rt. 
Rev.  Wm.  Davis,  LL.  D.,  Bishop  of  Michigan;  Ex-Postmaster-General 
Don  M.  Dickinson,  Prof.  F.  Abel  and  the  Detroit  Musical  Society,  Prof. 
E.  T.  Remick  and  the  Euterpe  Club,  Col.  F.  J.  Hecker,  chairman  of 
Entertainment  committee;  Hon.  L.  L.  Barbour,  Dr.  E.  S.  Sherrill,  N  C. 
Williams,  Jr.,  and  lastly  to  the  local  press  of  the  city  for  the  excellent 
and  elaborate  ti ally  records  of  the  Association's  proceedings  during  the 
three  days'  meeting. 


secretary's  report. 


183 


The  committee  further  desire  on  their  own  behalf,  as  well  aB  on  that 
of  the  general  body  of  members  of  the  Music  Teachers'  National  Asso- 
ciation, to  express  their  deep  and  unfeigned  regret  that  death;  during  the 
past  year,  has  deprived  them  of  the  friendship  and  fellowship  of  the  fol- 
lowing members  of  the  Association:  Dr.  Louis  Maas,  of  Boston;  Dr.  Carl 
Merz,  of  Wooster,  Ohio;  Caroline  R.  Schneider,  of  Chicago,  111.,  and  C. 
M.  Loomis,  of  Kew  Haven,  Conn.,  and  we  hereby  extend  to  their 
bereaved  and  sorrowing  relatives  and  friends  our  deep  sympathy  in  their 
affliction.  Slightly  paraphrasing  Shakespeare,,  we  sincerely  trust  that 
the  good  they  did  may  live  after  them,  that  the  evil  (if  any)  they  did 
may  be  interred  with  their  bones,  and  that  their  bright  example  of  zeal, 
of  earnestness,  and  of  devotion  1o  the  tender  and  humanizing  art,  dear 
to  both  them  and  to  us,  may  not  be  lost  upon  those  who  are  left  behind 
to  bear  still  further  the  heat  and  burden  of  the  day. 

[Signed]  John  Towers. 

Calixa  Lavalle. 

Wilson  G.  Smith. 

On  motion  the  report  was  accepted. 

The  President:  We  next  come  to  the  recommendation  in  the 
President's  Address.  On  Tuesday  morning  all  of  those  recommendations, 
except  two,  were  acted  upon  and  adopted;  but  two  of  the  recommenda- 
ions  were  referred  to  the  Board  of  Vice-Presidents.  The  first  recom- 
mendation was  that  steps  be  taken  by  means  of  which  the  Music  Teachers' 
National  Association  should  secure  a  place  on  the  official  program  at  the 
World's  Fair  at  Chicago  in  1893.  It  is  now  in  order  for  the  Board  of 
Vice-Presidents  to  report  whether  or  not  they  favor  a  meeting  in  1893. 

It  being  in  keeping  with  the  action  of  the  Vice-Presidents,  on  motion 
duly  seconded,  it  was  voted,  that  we  endeavor  to  secure  official  recogni- 
tion for  the  M.  T.  N.  A.  during  the  World's  Fair  in  1893. 

Mr.  Heath:  I  move  that  we  proceed  to  hear  the  report  referring  to 
the  change  in  the  Constitution.    Motion  put  and  carried. 

The  President:  Will  the  Secretary  read  that  report  ? 

The  Secretary:  The  report  of  the  Committee  on  the  President's 
Address  is  as  follows :  First:  That  Section  1,  Article  5  of  the  Constitution 
be  amended  by  inserting  after  the  first  sentence  of  said  section  the  words 
"  Vice-Presidents  shall  be  appointed  by  the  President  with  the  approval 
of  the  Executive  Committee,  to  serve  for  the  term  of  one  year,  subject  to 
removal  for  cause  by  unanimous  vote  of  the  Executive  Comnaittee. 

Second:  That  the  Secretary  shall  publish  in  connection  wiih  the 
official  report  the  Constitution  and  by-laws,  and  also  the  substance  of  all 
resolutions  and  measures  whensoever  adopted,  which  have  been  made 
the  permanent  rule  for  the  work  of  the  Association. 

Third:  That  the  Secretary  be  instructed  to  send  a  copy  of  all  past 
reports  obtainable  to  the  chief  public  library  in  the  following  cities; 
Boston,  New  York,  Philadelphia,  Baltimore,  Washington,  Buffalo, 
Cincinnati,  Chicago,  Louisville,  New  Orleans,  Indianapolis,  St.  Louis, 


184 


MUSIC  teachers'  national  association. 


Minneapolis,  Denver,  San  Francisco,  Detroit,  Cleveland,  Spokane 
Falls  and  other  cities. 

Fourth:  That  the  Association  resume  its  proper  title  as  adopted  in 
New  York  in  1885,  viz.,  'M.  T.  N.  A.,  The  American  Society  for  the 
Promotion  of  Musical  Art.' 

Further,  That  the  Executive  Committee  be  instructed  to  take  proper 
steps  for  the  legal  change  of  the  corporate  name. 

Fifth:  Upon  the  advice  of  the  Vice-Presidents,  we  recommend  that 
an  extraordinary  meeting  in  harmony  with,  and  as  a  part  of  the  official 
program  of  the  World's  Fair  to  be  held  in  Chicago,  in  1893. 

Sixth:  That  the  last  clause  of  Paragraph  6,  Section  3,  Article  9,  of  the 
Constitution,  beginning  with  the  words  'And  in  no  case  shall  the  Pro- 
gram Committee  allow,'  be  striken  out  and  the  following  substituted, 
'  And  the  Program  Committee  shall  make  up  the  programs  from  the 
compositions  thus  accepted  by  the  Board  of  Examiners,  supplementing 
them  as  they  may  deem  advisable  from  selections  from  other  courses.' 

SeDenth:  To  amend  Section  2,  Paragraph  D,  Article  4,  of  the  Con- 
stitution by  striking  out  the  following  '  A  fee  of  two  dollars,'  and  insert 
'Not  less  than  five  dollars,  and  not  more  than  ten  dollars,  at  the  dis- 
cretion of  the  Executive  Committee,  which  fee  shall  entitle,' 

Mr.  Hahn  moved  that  the  whole  of  Paragraph  D,  Section  1  and  2, 
Article  4,  of  the  Constitution,  relating  to  Associate  Membership,  be 
stricken  out,  and  such  Associate  Membership  be  hereby  abolished. 

The  Secretary:  And  I  add,  with  your  permission,  that  the  whole 
matter  of  Associate  Memberships,  special  patrons'  fees,  admission  to  con- 
certs, etc.,  be  left  with  the  Executive  Committee.  Seconded. 

The  President:  You  have  heard  the  motion.  It  is  based  on  the  ex- 
perience of  the  Executive  Committee  this  year.  Knowing  that  so  much 
was  at  stake  at  this  meeting,  without  waiting  for  authority,  they  have 
acted  according  to  the  necessities  of  the  case,  and  they  have  asked  you 
to  make  legal  their  action  and  such  action  by  all  future  Executive  Com- 
mittees. 

Mr.  Farnum  rose  to  a  point  of  order  and  the  Secretary  proceeded. 

The  Secretary:  Eight:  That  the  official  stenographer  be  instructed 
to  make  two  copies  of  his  report  of  the  proceedings,  and  that  he  transmit 
one  of  these  copies  to  the  President  and  the  other  to  the  Secretary,  within 
two  weeks  from  the  close  of  the  session. 

NintJi:  We  also  recommend  that  it  be  made  a  permanent  rule  as 
long  as  the  Association  shall  last  to  head  the  membership  list  in  each 
annual  report  with  the  names  of  those  who  originated  it  and  signed  the 
call  for  the  first  meeting  in  1876  under  the  title  'Founders  of  the 
Association.'  " 

On  motion  the  report  was  accepted  and  adopted. 

On  motion  of  Mr.  Root  it  was  voted  that  the  reports  of  Standing 
Committees  be  published  in  the  Official  Report  without  being  read. 

Mr.  Heath:  Before  we  take  up  this  matter  of  the  meeting  of  1893  in 
Chicago,  I  would  like  to  make  a  statement  to  this  house  for  two  reasons: 


secretary's  report. 


185 


One  is,  that  I  was  placed  yesterday  in  a  very  awkward  position  for 
myself;  and  second,  I  would  like  to  have  this  house  fully  understand  all 
that  is  contemplated  in  the  plan  before  us.  There  has  been  a  very  seri- 
ous misunderstanding  among  a  large  number  of  the  members  as  to  what 
that  Chicago  matter  is  to  be  and  how  it  should  be  brought  about,  and  I 
will  endeavor  at  this  time  to  make  that  plain  and  clear. 

I  think  three  years  ago,  or  four  years  ago,  it  does  not  matter  which, 
this  Association  established  a  commission  on  church  music,  a  committee, 
in  other  words.  We  told  that  committee  it  was  intrusted  with  the  inter- 
ests of  this  Association  relative  to  all  such  matters  as  related  to  church 
music  as  might  come  before  that  committee.  It  submitted  last  year,  as 
at  several  other  times,  reports  such  as  you  have  just  adopted,  without 
hearing  them  read  The  Chicago  matter  is  in  a  like  position.  The 
Board  of  Vice-Presidents  have  suggested  that  a  commission  be 
appointed,  or  in  other  words,  a  special  committee,  into  whose  hands 
shall  be  entrusted  all  the  matters  relative  to  the  interest  of  this  Associa- 
tion during  the  World's  Fair;  for  that  period  and  for  no  longer.  The 
impression  went  out  at  first  that  the  Music  Teachers'  National  Associa- 
tion was  going  to  elect  a  new  set  of  officers,  or  two  sets  of  officers.  No 
such  plan,  no  such  idea  has  been  taken  into  consideration  by  the  Vice- 
Presidents;  it  is  simply  a  committee  for  that  special  purpose.  The  object 
of  this  is  plain  to  be  seen.  It  is  an  opportunity  that  the  musical  profes- 
sion has  never  had  before,  and  possibly  may  never  have  again  during 
our  lifetime,  to  put  its  interests,  its  standing,  its  condition  —  in  plain 
English,  exhibit  itself  before  the  world.  There  has  never  been  an  oppor- 
tunity like  this  for  us  before. 

Now,  it  seems  to  me  wise  that  such  a  committee  be  established.  Let 
me  say  to  you  that  the  officers  of  the  Music  Teachers'  National  Associa- 
tion for  its  next  meeting  have  been  elected,  the  place  of  meeting  has 
been  established  at  Minneapolis.  At  that  meeting  the  regular  officers 
of  the  Music  Teachers'  National  Association  will  be  elected  for  its  next 
meeting,  independent  altogether  of  this  Chicago  matter.  You  all  under- 
stand the  nature  of  the  church  music  commission,  and  the  Chicago  com- 
mission is  a  like  one.  This  was  the  consideration  of  this  matter  before 
the  Vice-Presidents.    They  considered  it  in  that  light  only. 

When  it  was  referred  to  the  Vice-Presidents  it  contained  a  suggestion 
that  the  Vice-Presidents  nominate  such  persons  as  they  thought  best 
fitted  to  take  the  matter  in  hand.  They  have  done  so,  and  it  seemed 
eminently  right  to  them  that  the  members  of  the  Music  Teachers' 
National  Association  should  know  who  the  members  of  that  commission 
shall  be  and  their  fitness  for  their  duties.  It  seemed  necessary,  in  order 
to  do  that,  that  they  should  be  appointed  to  the  offices  which  they  were 
to  fill.  This  is  a  little  extraordinary.  In  such  commissions  they  are  usu- 
ally allowed  to  elect  their  own  officers,  but  in  this  case  the  importance  of 
the  matter  made  it  necessary  that  we  should  understand  exactly  the 
fitness  of  each  and  every  man,  and  should  have  an  understanding  of 
what  duty  he  was  to  be  assigned.    In  order  to  accomplish  this  and  bring 


186 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


it  openly  and  squarely  before  every  one  of  you,  we  so  arranged  the  com- 
mission relative  to  the  officers  that  we  should  have  the  best  fitted  to* 
serve  in  every  single  office  that  came  up  for  consideration.  The  Vice- 
Presidents  carefully  considered  the  merits,  advantages  and  disadvant- 
ages of  every  one  they  could  think  of  relative  to  these  positions,  and 
according  to  their  best  judgment  have  placed  in  nomination  such  persons^ 
and  those  names  have  been  posted  on  the  bulletin  board  and  will  be  pre- 
sented by  the  Secretary  of  the  Board  of  Vice-Presidents  to  you. 

It  seems  to  me  that  this  matter  is  clearly  and  squarely  before  us,  and 
I  think  you  need  make  no  mistake.  Let  me  suggest  this  to  you,  that  the 
first  thing  you  settle  shall  be,  is  such  a  commission  to  be  established,  and 
shall  the  musical  profession  of  this  country  ask  for  representation  at 
Chicago.    I  make  a  motion  to  that  effect.    The  motion  prevailed. 

The  President:  It  is  ordered  that  the  commission  be  appointed. 
Will  the  Secretary  of  the  Board  of  Vice-Presidents  report  the  recom- 
mendation of  that  Board  as  to  the  organization  of  that  commission? 
The  names,  of  course,  will  be  read  continuously  from  beginning  to  end, 
and  then  afterwards  discussed. 

Mr.  De  Roode  :  Would  it  not  behest  to  hear  the  reading  of  the^ 
report?  I  move  that  it  be  called  an  International  Congress  of  Musicians. 
Motion  carried, 

(Note. — For  convenience  t^e  proceedings  of  the  Board  of  Vice- 
Presidents  are  inserted  here. — Secretary.) 

BOARD  OF  VICE-PRESIDENTS'  PROCEEDINGS. 

The  Board  of  Vice-Presidents'  met  in  the  Russell  House  parlors- 
Tuesday  morning  at  9  o'clock,  July  1,  1890. 

Present :  T.  H.  Rosewald,  Cal;  N.  H.  Allen,  Ct;  G.  B.  Hodge,  (act- 
ing for  Mrs.  F.  Klapp,)  N.  Dakota;  C  Sternberg,  Georgia;  C,  B.  Cady, 
Illinois;  W.  F.  Heath,  Indiana;  R.  de  Roode,  Kentucky;  S.  B.  Whitney, 
Massachusetts;  F.  Mueller,  Washington;  jMiss  Lily  R.  Church,  W.  Vir- 
ginia; A.  A.  Stanley,  (acting  for  Mr.  J.  H.  Hahn,)  Michigan;  W.  Petzst, 
Minnesota;  A.  I.  Epstein,  (acting  for  Mr.  M.  I.  Epstein,)  M  ssouri;  W.  A. 
Barbe,  Mississippi;  E.  T.  Baldwin,  N.  Hampshire;  C.  W.  Landon.  N. 
York;  H.  Harding,  N.  Jersey;  W.  H.  Neave,  N.  Carolina;  J.  Wolfram, 
Ohio;  E.  Cook,  Oregon;  C.  H.  Jarvis,  Pennsylvania;  H.  C.  Macdougall, 
R.  Island;  H.  Clark,  Jr.,  Texas;  E.  Fisher,  Ontario. 

The  Board  organized  by  the  choice  of  A.  A.  Stanley  as  Chairman 
and  H.  C.  Macdougall  as  Secretary. 

After  remarks  by  Messrs.  Heath,  Wolfram,  Langdou,  de  Roode,. 
Cady,  Petzet  and  others,  Mr.  de  Roode  moved  that  the  Board  of  Vice- 
Presidents'  recommend  as  to  the  M.  T.  N.  A.,  that  the  meetings  for  1891 
be  dispensed  with  and  that  the  place  for  meeting  in  1893  be  Chicago. 

Carried. 

Mr.  Rosewald  moved  a  reconsideration,  pending  which  the  Board 
adjourned  to  1:30  p.  m.,  same  place. 


secretary's  report. 


18T 


Tuesday,  July  1,  1890. 
The  Board  met  in  the  parlor  of  the  Russell  House  but  immediately- 
adjourned  to  5  p.  M,,  same  place. 

Tuesday,  July  2. 

The  Board  met  pursuant  to  adjournment  at  5  p.  m. 
In  addition  to  those  present  in  the  morning  were  : 
Mr.  J.  W.  Ruggles,  (acting  for  Mr.  A.  Rommel,)  Iowa;  Mrs.  A.  L. 
Layton,  Nevada. 

Reading  of  minutes  dispensed  with. 

Voted,  That  the  Board  recommend  that  the  meeting  for  1891  be 
omitted  and  that  we  meet  two  years  hence  in  Minneapolis. 

Voted,  That  we  proceed  to  the  nomination  of  officers  for  the  ensuing 
year. 

The  following  were  nominated  unanimously  :  President,  J.  H.  Hahn 
of  Michigan;  Secretary,  H.  S.  Perkins  of  Illinois;  Treasurer,  W.  F. 
Heath  of  Indiana.  ' 

For  Executive  Committee  :  Carl  Lachmund,  Minneapolis,  Chairman 
"Walter  Petzet  of  Minneapolis  and  S.  A.  Baldwin  of  St.  Paul. 

For  Program  Committee  :  Arthur  Foote  of  Boston,  Chairman;  N. 
H.  Allen  of  Hartford,  Conn,  and  J.  H.  Rosewald  of  San  Francisco. 

For  Examining  Committee  of  American  Compositions  :  E.  A.  Mac- 
Dowell  of  Boston,  Chairman;  E.  Kroeger  of  St.  St.  Louis,  C.  H.  Jarvis 
of  Philadelphia  and  Hugh  A.  Clarke  of  Philadelphia,  alternate. 

For  Auditing  Committee  :  J.  W.  Ruggles  of  Fayette,  la.,  Chairman; 
C.  H.  Congdon  of  St.  Paul  and  F.  A.  Parker,  of  Madison,  Wisconsin. 

Voted,  That  the  Board  recommends  that  an  International  meeting  be 
held  in  1893. 

Voted,  That  the  Committee  appointed  by  the  President  of  the  M.  T. 
N.  A.  to  consider  the  recommendations  contained  in  his  address  be 
elected  b}^  the  Board  to  report  to  it. 

Voted,  To  adjourn  to  5  p.  m.,  Wednesday. 

Adjourned  Meeting,  Wednesday  5  p,  m. 

Voted,  That  Wilson  G.  Smith,  of  Cleveland,  be  chairman  of  th© 
Program  Committee  for  1893. 

Voted,  That  the  name  of  the  Association  be  changed  to  the  following, 
to-wit:  "M.  T.N.  A.  An  American  Society  for  the  Promotion  of 
Musical  Art,"  and  that  the  legal  incorporation  of  the  new  title  be  referred 
to  the  Executive  Committee  with  power  to  act. 

Voted,  That  the  set  of  resolutions  formulated  by  the  committee  to 
whom  was  referred  the  President's  Address  be  adopted. 

Voted,  That  Hugh  A.  Clarke,  of  Philadelphia,  be  elected  alternate 
on  the  Examining  Committee  of  American  Compositions,  in  place  of 
H.  C.  Andres. 

Voted,  That  an  International  Congress  of  Musicians  under  the 
auspices  of  the  Music  Teachers'  National  Association  be  held  in  Chicago 


188 


MUSIC  teachers'  national  association. 


in  1893.  The  following  officers  were  recommended  unanimously  for 
election  for  1893: 

President:    Dr.  F.  Ziegfeld,  Chicago. 

Secretary:    H.  S.  Perkins,  Chicago. 

Treasurer:    W.  F.  Heath,  Indiana. 

For  Executive  Committee:  Mr.  F.  G.  Gleason,  Chicago;  Mr.  O.  L. 
Fox,  Chicago,  and  Mr.  J.  H.  Hahn,  Detroit 

For  Program  Committee:  Mr.  C.  Sternberg,  Philadelphia;  Mr. 
C.  Lavallee,  Boston,  and  Mr.  A,  R.  Parsons,  New  York. 

For  Examining  Committee  of  American  Compositions:  Mr.  Dudley 
Buck,  New  York;  Mr.  E.  M,  Bowman,  New  York;  Mr.  S.  B.Whitney, 
Boston,  and  Mr.  J.  H.  Rosewald,  San  Francisco. 

The  Secretary  was  instructed  to  make  a  record  in  the  minutes  that 
Mr.  Rosewald  was  nominated  in  opposition  to  his  own  emphatic 
protest. 

Voted,  That  the  greetings  of  the  Board  of  Vice-Presidents  be  carried 
to  the  musical  profession  in  the  States  of  California,  Nevada,  Oregon  and 
Washington,  represented  by  Messrs.  Rosewald,  Cook,  Mueller  and  Mrs. 
A.  L.  Layton,  respectively,  and  a  hearty  invitation  to  visit  future  meet- 
ings of  the  Music  Teachers'  National  Association  be  extended. 

Voted,  That  the  following  be  recommended  as  Auditing  Committee 
for  1893:  O.  Blackman,  Chicago;  Max  Leckner,  Indianapolis,  and 
C.  W.  Landon,  Claverack,  N.  Y. 

Voted,  That  the  title  of  the  Association  be  not  abbrieviated  except  as 
regards  the  first  four  letters. 

Russell  Parlors,  Thursday  1:15  p.  m. 

Present:  Mrs.  Layton,  Miss  Church  and  Messrs,  Ruggles,  Fisher, 
Baldwin,  Heath,  Barb^,  Wolfram,  Harding,  de  Roode,  Petzet,  Clarke, 
Mueller,  Harding,  Parsons,  Pratt,  Whitney,  Jarvis,  Sternberg,  Hodge, 
Howe,  Cook  and  Macdougall.    Mr.  Stanley  in  the  chair. 

Voted,  That  President  Parsons  and  Silas  G.  Pratt  be  invited  to  remain 
and  deliberate  with  the  Board. 

Reading  of  records  dispensed  with.  S.  B.  Whitney  sent  in  his 
declination  as  a  member  of  the  Examining  Board  for  1893. 

After  remarks  by  President  Parsons,  Mr.  Pratt  was  invited  to  address 
the  meeting. 

Voted,  That  the  Executive  Committee  consist  of  the  three  gentlemen 
first  nominated,  and  the  past  Presidents  of  the  Music  Teachers'  National 
Association,  and  that  said  Committee  shall  organize  at  the  call  of  the 
President  of  the  International  Congress;  the  past  Presidents  to  be  Vice- 
Presidents  in  the  commission,  viz. :  R.  de  Roode,  Lexington,  Ky, ; 
F.  B.  Rice,  Oberlin,  0.;  E.  M.  Bowman,  Newark,  N.  J.;  S.  N.  Penfield, 
New  York,  N.  Y. ;  A.  A.  Stanley,  Ann  Arbor,  Mich.;  Calixa  Lavallee, 
Boston,  Mass.;  Max  Leckner,  Indianapolis,  Ind. ;  W.  F.  Heath, 
Ft.  Wayne,  Ind. ;  A.  R.  Parsons,  New  York,  N.  Y.,  and  J.  H.  Hahn, 
Detroit,  Mich. 

Adjourned. 


secretaby's  report.  189 

Russell  House  Parlors,  Friday,  July  4,  1  p.  m. 
Mr.  Stanley  in  the  chair. 

The  Program  Committee  for  1893  having  resigned  it  was 

Voted,  That  their  resignations  be  accepted  and  that  Messrs.  A.  R. 

Parsons,  Calixa  Lavallee  and  C.  Stergberg  be  elected  to  fill  the 

vacancies. 

Voted,  That  the  Program  Committee  for  1893  be  extended  to  five. 
Voted,  That  Messrs.  Clarence  Eddy  and  F.  W.  Root  be  added  to  that 
committee. 

Voted,  That  the  following  names  be  added  to  the  oflaciary  of  the 
International  Congress  of  Musicians  to  be  an  Advisory  Board: 

Professor  David  Swing,  Dr.  H.  W.  Thomas,  Canon  J.  H.  Knowles, 
Rev.  Dr.  Gunsaulus,  Ferd  W.  Peck,  Marshall  Field,  N.  K.  Fairbank, 
Geo.  W.  Pullman,  Edson  Keith,  W.  K.  Sullivan,  Geo.  Upton. 
Wm.  Penn  Nixon,  John  W.  Scott,  Washington  Hesing,  Lyman  Abbot, 
Bishop  Potter,  Dr.  Robert  Colyer,  Felix  Adler,  Chauncey  M.  Depew, 
Gen.  Sickles,  Geo.  F.  Peabody,  Edmund  J.  Stanton,  H.  E.  Krehbiel, 
W.  J.  Henderson,  Gustave  Kobbi,  H.  T.  Finck,  Theodore  Thomas, 
Anton  Seidle,  Arthur  JSTikish,  Frank  Vanderstiicken,  Walter  Damrosch. 

Adjourned. 

Attest:  '  H.  C.  Macdou^all, 

Secretary  Board  of  Vice-Presidents. 

On  motion  the  report  of  the  committee  was  received. 

Mr.  Macdougall  read  the  names  constituting  the  commission,  and 
Mr.  Landon  moved  that  they  be  elected  en  masse.  Mr.  Abercrombie 
moved  that  the  names  be  considered  singly. 

Motion  put  and  lost. 

The  question  then  turned  upon  Mr.  Landon's  motion. 

Mr.  S.  G.  Pratt  desired  five  minutes  to  inform  the  Association  of  the 
magnitude  of  the  undertaking,  and  to  give  his  views  in  regard  to  the 
appointment  of  the  commission  and  officers. 

On  motion  of  Mr.  Sternberg  the  time  was  voted,  Mr.  Pratt  to  speak 
without  being  confined  to  the  motion  before  the  house. 

Mr.  Pratt  :  The  business  which  is  to  be  undertaken  by  this  commis- 
sion or  congress  of  musicians,  if  they  please  to  call  themselves  so,  is 
something  like  this  :  There  will  be  held  in  Chicago  in  1893  a  great 
festival  of  music,  which  will  include  choral  resources  which  must  be 
organized  not  only  in  Chicago,  but  in  every  State  in  the  Union.  The  co- 
operation of  foreign  artists  from  every  foreign  land  in  the  world  will  be 
expected.  The  raising  of  the  money  for  that  purpose  will  cause  no 
trouble  whatever,  because  the  amount  which  is  put  at  the  disposal  of  the 
commission,  the  World's  Fair  Commissioners,  will  be  adequate  and  they 
will  devote  to  that  festival  not  less  than  $100,000  for  music  ;  they  can 
do  little  less  than  give  $100,000. 

The  importance  of  the  solemnity  of  our  duty  upon  this  occasion 
should  posess  all.  We  should  forget  personalties,  we  should  forget  any 
desire  for  self  advancement,  and  endeavor  to  act  upon  it  with  the 


1^0 


MUSIC  teachers'  national  association. 


solemity  which  the  occasion  requires.  The  extraordinary  duty  of  the 
Secretary  will  require  the  entire  time  of  any  one  man  for  a  long  time. 
The  man  into  whose  hands  the  money  must  go,  running  into  hundreds 
•of  thousands  of  dollars,  it  seems  to  me,  with  all  due  respect  to  Mr. 
Heath,  should  be  some  banker  who  has  business  standing,  who  will  not 
only  guarantee  the  funds,  but  by  his  association  with  the  business  world, 
would  lend  dignity  to  this  Association  and  inspire  confidence.  Besides, 
if  Mr.  Heath  takes  such  a  position,  it  would  necessarily  divorce  him  from 
his  profession  in  connection  with  the  festival,  and  the  congress  would 
lose  the  advantage  of  his  art  as  an  instructor  of  singing  in  the  public 
schools  where  he  stands  pre-eminent,  and  of  course  where  he  should  ;be 
placed  in  that  work,  in  order  to  do  our  country  honor  in  that  work,  which 
is  of  the  utmost  importance  and  he  should  be  connected  in  that  manner 
with  the  festival  and  have  charge  of  the  public  school  singing.  There  is 
no  man  better  fitted  for  it  than  Mr.  Heath.  It  would  seem  better  that 
the  Secretary  on  that  occasion  should  be  some  business  man,  fully  com- 
petent to  carry  out  the  scheme  in  all  its  ramifications,  and  it  appears 
therefore  plain  to  me  that  it  is  unwise  to  attempt  to  elect  these  officers  in 
a  hurry  at  this  meeting  and  in  a  few  hours  time. 

Then  again,  it  would  seem  that  any  private  enterprise,  having  for  its 
object  the  identical  purposes  here  in  view  for  personal  and  private  gain, 
would  fail  ignominiously,  thus  defeating  the  ostensible  object,  the  ad- 
vance of  musical  art,  while  its  real  object  would  be  to  make  money  for 
itself.  It  therefore  becomes  essential  that  some  organization  which  is 
unselfish  in  its  aim  shall  take  the  matter  in  hand. 

Such  organization  is  the  M.  T.  N.  A.  and  it  is  the  only  organization. 
It  is  thus  eminently  fit  and  proper  that  it  should  take  charge  of  the 
program  of  the  World's  Fair.  The  opportunity  is  one  that  occurs,  as 
our  friend  has  said,  once  in  a  lifetime  ;  it  occurs  once  in  a  century.  It 
does  not  occur  once  in  four  hundred  years,  and  will  not  occur  again  for 
a  thousand  years,  and  shall  you  in  your  convention  assembled  pass  upon 
it  in  twenty-five  minutes. 

The  President  :  Five  minutes  having  expired,  will  the  house  con- 
cede more  time. 

Further  time  was  granted  Mr.  Pratt. 

Mr.  Pratt:  In  view  of  this  I  would  offer,  if  you  please,  an  amend- 
ment. 

The  President:  An  amendment  may  be  received  which  is  germane 
to  the  question  before  the  house. 

Mr.  Pratt:  For  the  purpose  of  preserving  to  the  art  of  music  a 
dignified  position  and  a  representation  worthy  and  honorable  alike  to 
our  country  and  the  civilized  world,  and  if  possible  to  prevent  the 
grandeur  of  its  cause  and  of  its  standing  from  being  used  for  purposes 
of  private  speculation  to  the  injury — 

Mr.  Wolfram:   I  protest. 

The  President:  The  house  will  decide  whether  the  action  of  the 
Board  of  Vice-Presidents  shall  be  alluded  to  in  this  manner. 


secretary's  report.  191 

Mr.  Wolfram:  The  gentleman  appeared  before  the  Vice-Presidents 
and  laid  before  us  everything  he  had  to  say. 

Mr.  Heath:  Let  us  listen  to  the  gentleman  frankly  and  respectfully, 
it  will  da  us  no  harm. 

Mr.  Pratt  then  offered  the  following: 

"For  the  purpose  of  preserving  to  the  art  of  Music  a  dignified  posi- 
tion and  representation  worthy  of  our  profession,  honorable  alike  to  our 
country  and  the  civilized  world,  and,  if  possible,  to  prevent  the  glory 
and  grandeur  of  the  Columbian  World's  Fair  from  being  utilized  for 
purposes  of  private  speculation  to  the  injury  of  the  advancement  of 
musical  art  interests,  not  only  in  America,  but  throughout  the  world,  be 
it  therefore 

"Resolved,  by  the  Music  Teachers'  National  Association,  in  convention 
assembled,  that  a  Grand  International  Musical  Festival  shall  be 
held  at  Chicago  during  the  Columbian  World's  Fair  of  1893,  under  the 
auspices  of  the  Music  Teachers'  National  Association. 

'  2.  That  a  special  board  of  twenty-one  commissioners  be  appointed 
to  represent  this  Association  in  connection  with  the  proposed  musical 
festival  at  Chicago  in  1893. 

"3.  That  the  President  of  the  Music  Teachers'  National  Association, 
and  past  Presidents,  who  are  still  members  of  the  Association,  shall  be 
included  in  the  said  commissioners. 

"4.  That  the  President  of  the  Music  Teachers'  National  Association 
shall  call  the  first  meeting  of  said  commissioners  not  later  than  the  first 
Monday  in  September  (this  year)  at  Chicago,  for  the  purpose  of  a  perma- 
nent organization. 

"5.  That  the  Board  of  Commissioners  shall  be  and  is  hereby 
instructed  to  add  to  their  numbers  representative  public-spirited  men, 
whose  unselfish  patronage  of  music  in  the  past  has  been  a  guarantee  of 
their  devotion  to  the  purposes  of  our  Association  ;  and  also  such  addi- 
tional members  of  the  Music  Teachers'  National  Association  as  may  be 
deemed  essential  to  accomplish  the  object  of  the  commissioners. 

"6.  That  the  said  commission,  when  duly  organized,  shall  be  and  is 
hereby  empowered  to  act  for  the  Music  Teachers'  National  Association, 
and  make  all  such  arrangements  as  may  be  by  them  considered  essential 
to  the  successful  perfojrmances  of  music  which  may  be  given  under  the 
auspices  of  the  Association  in  Chicago  in  connection  with  the  Columbian 
World's  Fair  in  1893. 

"7.  At  the  regular  meeting  held  in  1892,  the  special  Board  of  Com- 
missioners shall  make  their  report. 

"8.  It  being  understood  that  this  special  Board  of  Commissioners 
shall  not  contract  any  indebtedness  exceeding  the  sum  of  $100  for  the 
Music  Teachers'  National  Association  without  the  consent  of  a  majority 
of  the  members  of  said  Board  of  Commissioners. 

"In  addition  to  the  twelve  past  Presidents,  the  following  names  are 
respectfully  suggested: 

"H.  Clarence  Eddy,  Chicago. 

"Dr.  Florence  Zieqfeld,  Chicago. 

"Frederic  G.  Gleason.  Chicago. 

"Frederic  W.  Root,  Chicago. 

"Mrs.  Fanny  Bloompield  Zeisler,  Chicago. 

"Miss  Amy  Fay,  Chicago. 

"J.  C.  Fillmore,  Milwaukee. 

"W.  W.  Gilchrist,  Philadelphia. 

"S.  B.  Whitney,  Boston. 

^'H.  E.  Krehbeil,  New  York. 


192 


MUSIC  TEACHEES"  XATIO^TAL  ASSOCIATION. 


"Tlie  Commissioners  to  have  power  to  fill  vacancies. 

"9.  That  any  funds  which  maj  be  secured  by  means  of  the  Interna- 
tional Musical  Festival  shall  be  a-^ded  to  the  Orchestral  Fund  of  the 
Music  Teachers'  National  Association,  for  the  promotion  of  musical  art 
in  A^merica. 

••10.  That  the  President  immediately  notify  Senator  Palmer,  Presi- 
dent of  the  World's  Fair  Commissioners,  now  in  Detroit,  of  this  action. 

•'11.  That  the  members  of  this  special  Board  of  Commissioners,  now 
present,  form  a  sub  committee,  and  at  the  earliest  opoortunity  call  upon 
the  President  of  the  World's  Fair  Commission  in  a  body  to  secure  official 
recognition  of  their  plan  until  the  permanent  organization  of  the  com-> 
mission  is  efiected." 

There  is  one  more  thought  here  which  I  must  add.  that  any  funds 
which  may  be  secured  by  means  of  this  International  Congress  shall  be 
added  to  the  Orchestral  Fund  of  the  M.  T.  N.  A.  and  shall  not  be  dis- 
tributed to  any  other  individual. 

Just  one  word  more  and  I  have  done.  Some  objections  to  the  other 
proposition  are  these  :  It  proposes  to  secure  from  the  Music  Teachers' 
National  Association,  which  is  the  only  National  Association  in  the 
United  States,  and  therefore  the  only  corporate  body,  all  that  it  can  give 
it  in  authority.  It  is  proposed  to  give  it  life  from  our  Association  and 
that  it  shaU  be  clothed  with  the  authority  which  our  name  has  through- 
out the  entire  country,  and  with  no  power  that  it  is  responsible  to.  It 
has  no  constitution  or  by-laws  to  start  with.  It  has  no  corporate  exis- 
tence. It  is  responsible  to  nobody.  It  wiU  be  claimed  that  as  a  private 
enterprise  it  has  been  sanctioned  by  the  M.  T.  N.  A.  and  it  will  have 
secured  aU  the  benefits  of  our  Association,  without  being  responsible  to 
it  in  any  manner.  I  move  you,  therefore,  that  this  amendment  be  acted 
upon  in  the  place  of  the  other,  seconded  by  !Mr.  Abercrombie. 

Mr.  Heath  moved  that  aU  the  officers  nominated  be  elected  excepting 
the  Secretary  and  Treasurer. 

Dk.  Zlegfeld  :  I  only  wish  to  make  one  statement,  and  that  is  as  to 
the  objection  to  the  Treasurer.  It  is  a  shot  at  ^Ir.  Heath.  I  know  if  the 
Board  of  Directors  of  the  World's  Fair  co-operate  with  us,  they  will 
certainly  not  leave  $100, (X'O  in  our  hands.  They  will  have  their  officers, 
as  well  as  we  shall  have  ourg,  and  I  do  not  think  there  is  any  danger  in 
that  respect,  and  that  can  all  be  arranged. 

Mr.  Stewakt:  Tliis  commission  will  be  responsible  to  the  World's 
Fair  Commission  ;  that  is  the  responsible  power. 

Mb.  Perken's:  Every  time!  There's  too  much  speculation  in  the 
$100,000  :  Too  much  wind  I  It  may  be  politic  to  confer  with  the  World's 
Fair  commission  before  pocketirg  the  money  !  The  nominee  for  Secretary 
does  not  hanker  for  the  place. 

The  President  :  The  question  is  on  Mr.  Heath's  amendment,  that  we 
pass  upon  these  nominations,  with  the  exception  of  the  Secretary  and 
Treasurer,  and  that  we  adopt  the  whole  commission  with  those  excep- 
tions.   Carried  by  a  standing  vote. 

Mr.  Stewart  moved  that  the  name  of  H.  S.  Perkins  as  Secretary  and 


recretaky's  report. 


193 


W.  F.  Heath  as  Treasurer  be  added,  wliicli  several  members  seconded. 
Carried. 

Mr.  de  Roode:  I  move  that  the  Orchestral  Fund  Committee  be  in- 
structed to  correspond  with  several  trust  companies,  selecting  the  best 
one  they  can  find  and  instruct  their  Treasurer  to  pay  over  to  the  trust 
company  all  moneys  they  have  in  their  hands  over  $100.  Carried. 

The  President:  The  resolution  of  Mr.  Barbe  offered  Tuesdiiy  after- 
noon as  to  Vice-Presidents  recommending  artists,  etc.  was  not  acted 
upon.    What  shall  be  done  with  it  ? 

On  motion  it  was  adopted 

On  motion,  duly  seconded,  adiourned. 

(The  reports  of  several  committees  and  commissions  are  inserted  in 
this  part  of  the  book  for  convenience.  8ecy.) 

REPORT   OF   THE    CHURCH   MUSICAL  COMMISSION. 

FOR  THE  YEAR  ENDING  JULY  1,  1890. 

In  the  unavoidable  absence  of  the  officers  of  the  Commission  the 
undersigned  has  been  delegated  to  present  the  annual  report. 

The  lines  of  work  which  are  being  followed  and  the  results 
accomplished  during  the  past  year  may  be  briefly  summarized  as 
follows : 

The  subject  of  the  philosophical  relation  of  church  music  to  public 
worship  has  been  given  serious  study  during  the  past  two  years  by  the 
Secretary  of  the  Commission,  who  presents  herewith  an  elaborate  paper 
which  is  respectfully  submitted  as  an  appendix  to  this  report,  with  the 
request  that  it  be  printed  in  the  proceedings  of  the  Association  without 
being  read. 

The  subject  of  the  special  study  of  church  music  by  musicians  has 
been  recently  presented  to  our  notice  by  the  announcement  of  the  School 
for  Church  Musicians,  to  be  opened  in  the  fall  by  the  Faculty 
of  Hartford  Theological  Seminary  at  Hartford,  Conn.,  under  the  direc- 
tion of  Prof.  Waldo  S.  Pratt.  While  it  is  not  the  purpose  of  the 
Commission  to  particularize  or  bring  into  special  prominence  any  school 
or  schools  of  music,  it  nevertheless  recognizes  the  necessity  of  recording 
all  efforts  that  are  being  put  forth  in  this  direction,  and  of  exerting  what 
influence  it  can  in  favor  of  these  efforts,  especially  when  in  their 
incipienoy. 

The  Sub-Committee  on  the  subject  of  graded  lists  of  anthems,  church 
organ  music,  etc.,  has  experienced  considerable  difficulty  in  determining 
upon  a  satisfactory  plan  for  carrying  on  their  work,  but  has  finally 
adopted  one  that  it  is  hoped  will  be  found  sufficiently  definite  to  be 
understood  and  elastic  enough  to  be  practicable.  The  lists  of  anthems 
for  example,  are  of  three  kinds: 

1.  Alphabetical  according  to  title,  with  a  tabulated  showing  of 
composer,  catalogue  number  (publisher),  key,  price  length  (in  minutes), 
difficulty,  text  and  adaptation  or  utility,  as  per  following  example. 


194  MUSIC  teachers'  national  association. 


Title  of 
Anthem. 

Composer. 

Cat. 
No. 

Key. 

Price. 

Length 
in  min. 

Difficulty. 

Text. 

Adaptation. 

Blessed  are  the 
Merciful . 

Henry 
Hiles. 

Ditson . 
Sac  Sets 
No.  207. 

Q. 

.05. 

Moderate 

Matt.  V. 
7,  8,  9. 

Consecra- 
tion 
Beauitude 

2.  Separate  alphabetical  lists  of  titles  (with  composers)  of  those  of 
the  same  degree  of  difficulty,  of  which  there  shall  be  four,  viz.:  Easy, 
moderate,  difficult  and  very  difficult,  differentiated  as  follows: 

Easy.  Those  involving  common  chords  and  inversions,  for  the  most 
part  monophonic,  in  simple  rhythms,  of  moderate  compass  and  with  no 
solos. 

Moderate.  Those  involving  diminished  seventh  cords;  no  suspensions 
in  close  harmony,  independent  voice  leadings  of  simple  character,  with 
rhythm  not  specially  disturbed  and  plain  solos. 

Difficult,  Those  involving  close  harmony,  chromatic  progressions, 
syncopations,  counterpoint  and  solos  of  moderate  difficulty. 

Very  Difflcult.  Those  involving  florid  counterpoint,  extreme  compass 
of  voices  and  solos  of  difficult  execution  and  expression,  as  for  example. 


Easy: — Lift  up  Your  Heads  Hopkins 

I  will  Arise  Cecil 

Moderate; — Blessed  Are  the  Merciful  Eiles 

Rejoice  in  the  Lord. .  Calkin 

Difficult  : — Awake,  Awake  Stainer 

Grieve  Not  the  Holy  Spirit.  Stainer 

Very  Difficult: — Lead  Kindly  Light  Jbtainer 

King  all  Glorious  Barnby 


3.  Alphabetical  lists  classified  according  to  special  utility  or 
adaptation,  according  to  the  following  heads  : 

Oljective:—Fv2i\QQ  (laudation),  thanksgiving,  worship  (adoration). 

Subjective: — Supplication  (prayer),  penitence  (repentance),  consola- 
tion, faith  (aspiration). 

Church  Tear.-— Advent,  Christmas,  epiphany,  lent,  passion  (Good 
Friday),  caster,  ascension,  Whit-Sunday. 

Church  Bites: — Baptism,  confirmation,  ordination  (installation),  con- 
secration (dedication). 

Morning. 

Evening. 

Death. 

Heaven. 

The  program  of  church  music  given  on  Tuesday,  July  1,  was  the  first 
practical  presentation  before  the  Association  of  specimens  of  church 
music  approved  by  the  commission.  It  included  almost  all  the  usual 
musical  features  of  the  church  service,  such  as  processional,  psalter,  Te 
Deum,  canticles  and  hymns,  together  with  a  number  of  anthems  of  dif- 
ferent grades.  It  is  regretted  that  the  program  had  to  be  given  in  the 
Opera-house,  thereby  incurring  a  sacrifice  of  dignity  and  churchly  char- 
acter, in  view  of  which  we  earnestly  request  that  in  future  a  suitable 


secretary's  report. 


195 


church  be  provided  for  this  purpose,  The  program  is  not  to  be  regarded 
in  the  light  of  an  entertainment,  and  the  audience  should  respectfully 
refrain  from  applause.  For  the  kind  assistance  given  on  this  occasion 
by  Mr.  J.  C.  Batchelder,  Harrison  B.  Wright,  C.  B.  Stevens,  St.  Paul's 
choir  and  many  other  choir  singers  of  Detroit,  the  Commission  begs  to 
return  most  hearty  and  sincere  thanks. 

The  project  of  a  Church  Music  Review  has  been  found  to  be  rather 
too  large  a  one  for  the  commission  to  engage  in  at  present.  A  generous 
offer  from  Mr.  Edgar  S.  Werner,  editor  of  The  Voice  Magazine,  has  been 
received,  however,  to  the  effect  that  he  will  publish  any  matter  pertain- 
ing to  the  Church  Music  Commission,  and  thereby  virtually  establish  a 
church  music  department  in  his  paper.  This  courteous  proposition  has 
been  gratefully  accepted. 

The  Commission  is  under  obligations  to  numerous  publishers, 
friends,  and  one  member  of  the  Association,  for  donations  of  books, 
pamphlets,  music,  etc ,  which  are  in  the  custody  of  the  registrar,  Mr.  S. 
N.  Penfield,  in  a  room  provided  for  the  purpose  in  Chickering  Hall,  New 
York  city. 

Prominent  among  the  contributors  are  Oliver  Ditson  &  Co.,  who 
have  presented  163  volumes;  the  Century  Company;  Novello,  Ewer  & 
Co. ;  Mr.  Max  Leckner,  and  the  Churchman  Publishing  Company.  A 
bookcase  has  been  provided,  and  Room  4  in  Chickering  Hall  will  be 
found  open  to  all  the  members  of  the  Music  Teachers'  National  Associa- 
tion for  inspection  and  use  of  library  in  this  department. 

Grateful  acknowledgment  is  made  of  an  offer  of  a  fire-proof  depos- 
itory for  this  collection  from  the  Faculty  of  Hartford  Theological  Sem- 
inary, Hartford,  Conn.,  but  Chickering  Hall,  New  York,  has  been  pre- 
ferred on  account  of  its  more  central  location. 

In  closing  we  earnestly  solicit  from  all  members  of  the  Association 
further  contributions  to  the  library,  and  their  general  interest  and  co- 
operation in  the  work  in  which  we  are  engaged.  We  should  be  pleased 
to  hear  from  them  personally  or  through  the  medium  of  The  Voice  Maga- 
zine mentioned,  the  address  of  which  is  28  West  Twenty-third  street, 
New  York  city. 

Respectfully  submitted,  on  behalf  of  the  Church  Music  Commission. 

Sumner  Salter, 

Secretary  pro  tern. 

REGISTER'S  REPORT. 

TO  THE  CHURCH  MUSIC  COMMISSION  OF  THE  MUSIC  TEACHERS'  NATIONAL 

ASSOCIATION. 

Your  Register  has  the  honor  to  report  that  in  pursuance  of  directions 
from  the  Commission,  the  organization  of  a  library  has  been  commenced 
and  encouraging  progress  can  be  reported. 

A  plain  but  serviceable  book-case  has  been  purchased  at  an  expense 
of  $15,  and  donations  of  books,  pamphlets,  etc.  on  the  subject  of  sacred 
music  solicited  from  various  publishers  by  means  of  the  circular  letter 
which  is  attached  to  this  report. 


196 


MUSIC  teachers'  national  association. 


As  a  result  the  following  list  of  works  has  been  received  in  the 
course  of  the  year. 

From  Oliver  Ditson  &  Co.,  162  works. 
From  The  Century  Co.,  12  works. 
From  Novello,  Ewer  &  Co.,  12  works. 
From  Mr.  Max  Leckner,  2  works. 

From  The  Churchman  Pub.  Co.  Subscription  to  The  Churchman 
from  June  14,  1890,  one  year. 

Other  firms  have  as  yet  made  no  response  to  the  appeal,  but  we  have 
faith  to  believe  that  from  these  and  private  sources  the  library  will  be 
rapidly  filled  up  as  soon  as  the  wants  and  plans  of  the  Commission  are 
generally  known.  The  complete  list  of  contributed  works  is  herewith 
submitted  as  a  part  of  this  report.  The  library  is'kept  in  a  room  at 
Chickering  Hall,  New  York,  which  has  been  generously  placed  at  the 
^  service  of  the  Commission  by  the  firm  of  Chickeiing  &  Sons.  The 
library  is  free  for  the  inspection  of  members  of  the  Commission,  also, 
for  members  of  the  M.  T.  N.  A.  who  maybe  specially  interesed  in  sacred 
music.  That  the  library  may  be  of  the  great  use  planned  for  by  the 
Commission,  it  is  hoped  that  many  other  works  may  soon  be  added,  all  of 
which  is  respectfully  submitted, 

S.  N.  Penfield, 
Register  Church  Music  Commission  of  the  M.  T.  N.  A. 

MUSIC  CONTRIBUTED  TO  THE  CHURCH  MUSIC  COMMISSION 


LIBRARY. 

BY  OLIVER  DITSON  CO. 

Dyer.    New  Edition  of  Dyer's  Anthems  boards,  1834 

Zeuner.    Ancient  Lyre   "  1836 

Boston  Academy  Collection  of  Anthems   "  1836 

Mucnscher.    Church  Choir   "  1839 

Manon.    Boston  Anthem  Book   "  1839 

Bailif  &  Handbridgp..    Cantus  Ecclesiae   "  1844 

Wkit.  &  Qould.    Modern  Harp   "  1846 

White  &  Qould.    Sacred  Chorus  Book   "  1849 

Oreatorex.    Greatorex's  Church  Music   "  1851 

Wainaright.    Music  of  the  Church   "  1853 

Ancient  Harmony  Revived   "  1855 

Woodbury.    New  Lute  of  Zion   "  1856 

Bool.    Sabbath  Bell    "  1856 

King.    Grace  Church  Collection   "  1852 

Boot.    Flower  Queen    "  1852 

Be  Monti.    De  Monti's  Favorite  Mass   "  1856 

Cull.    Winter  Evening's  Entertainment   '*  1856 

BradbU'p.    Esther   "  1856 

Boot.    Haymakers  paper,  1857 

Tuckerman.    Cathedral  Chants  boards,  1858 

Farmer.    Farmers  Mass,  B.  Flats  paper,  1859 


secretary's  report.  197 

Bradbury.    Anthem  Book  boards,  1860 

■Oliver.    Collection  of  Church  Music   "  i860 

Baumbach.    Sacred  Quartettes   "  1861 

Cook  &  Perkins.    New  Olive  Branch   "  1862 

Bristow.    Praise  to  God  Cloth,  1862 

Werner.    Cantate,  2  vols   boards,  1862-3 

Fetus.    Catholic  Harp  boards,  1863 

Wels.    Wels'  Church  Music   "  1863 

Emerson.    Harp  of  Judah   "  1863 

Hodges.    Trinity  Collection  of^Church  Music   "  1864 

Buck's.    Motette  CollectloQ   "  1864 

Miscellaneous.    Chorus  Wreath   "  1864 

Wilder  &  Davenport.    Praise  of  Zion   "  1865 

La  Hache.    La  Hache's  Mass  paper,  1865 

Wilcox  &  Soutkard.    Lyra  Catholica  boards,  1866 

Emerson.    Jubilate   "  1866 

Southard.    Offering   "  1866 

Seward,  et  al.    Temple  Choir  -   "  1867 

Mason.    American  Tune  Book   "  1869 

Bach.    Passion  Music   1869 

Concone.    Mass  in  F  paper,  1869 

Bordese.    Bordese's  Mass  in  F. .  r   "  1869 

Thomas.    Picnic  boards,  18 '9 

Emerson  c&  Morey.    Sabbath  Guest   "  1870 

Mucadanie.    Mass  in  B.  Flat  paper,  1870 

Dressier.    Peters' Catholic  Melodist   '  1871 

Buck.    Second  Motette  Collection   .boards,  1871 

Baumbach.    New  Collection   "  1871 

Schoeller,    New  Year's  Eve   paper,  1871 

Schoeller.    Quarrel  Among  Flowers   "  1871 

Emerson.    National  Chorus  Book   boards,  1871 

Niedermeyer.    Messe  Solennelle  paper,  1871 

Miscellaneous.    Peters'  Catholic  Harmonist  boards,  1871 

Fiske.    Oflertorium  >    "  1872 

Thayer.    Festival  Cantata   "  1872 

Faine.    St.  Peter   "  1872 

Wilson.    Wilson's  Book  of  Chants   "  1872 

Ensign.    Culprit  Fay   "  1872 

Buck.    46th  Psalm  paper,  1872 

Sisters  of  Notre  Ditme.    Peters'  Sodality  Hymn  Book  boards,  1872 

Sisters  of  Notre  Dame.    May  Blossoms   "  1872 

Emerson.    Chants  and  Responses  boards,  1873 

Banks.    Pauline  paper,  1873 

Butterfield.    Belshazzer   "  1873 

Thomas.    Sacred  Quartets  and  Anthems  boards,  1874 

Banks.    Anthem  Sr^rvices    "  1874 

Bressler.    Sacrod  Selections  for  Church  and  Home   "  1874 


198 


MUSIC  teachers'  national  association. 


Buck.    Legend  of  Don  Munio  boards,  1874 

Rosewig.    Cantus  Divinus.    "  1875 

Rosabel.    Christmas  Gift  paper,  1875 

Tourjee.    Chorus  Choir  boards,  1875 

Banks.    Sacred  Selections   "  1876 

Thomas.    Diamond  Cut  Diamond   "  1876 

Booley.    Maria  Immaculata   "  1876 

Chadwick.    Joseph's  Bondage  paper,  1877 

Trowbridge.    Heroes  of  '76  boards,  1877 

Rosewig.    Sodalist's  Companion   "  1877 

Emerson.    Emerson's  Sacred  Quartets   "  1877 

Parker.    Redemption  Hymn  (alto  and  Chorus)  paper,  1877 

Zundel.    Choral  Anthems  boards,  1878 

Emerson.    Church  Offering    "  1878 

BrucTi.    Birches  and  the  Alders  paper,  1878 

Dow.    Dow's  Sacred  Quartets  (male  voices)  boards,  1879 

Thayer   Herbert  and  Elsa  paper,  1879 

Barker.    Deluge  boards,  1879 

Hanson.    Tyrolean  Queen  papsr,  187& 

Lewis.    Cantica  Mariana  boards,  1879 

Cobb.    Mass  in  F,  No.  1  ,  paper,  1879 

Palmer  and  Trowbridge.    Santoral  boards,  1879 

Emerson.   Book  of  Anthems   "  1879 

Parker.    Church  Compositions   "  1879 

Perkins,  {H.  8.)   Perkins' Graded  Anthems   "  1880 

Outterson.    Christmas  paper,  18S0 

Mundy.    Capital  Joke   "  1880 

Parkhurst.    Fall  of  Jerusalem   "  1880 

Kieffer  and  Tenney.    Crown  of  Praise  boards,  1881 

Battmann.    Mass  in  C  (2  voices)   .paper,  1881 

Leavitt.    Cambyses   "  1881 

Bruch.    Flight  of  the  Holy  Family   "  1881 

Williams.    Christ  the  Lord   "  1881 

Leslie.    Vox  Laudis  boards,  1881 

DeMille.    2^0  Chants  paper,  1882 

Wels.   Mass  of  St.  Cecilia   "  1882 

Burgess.    Shepard  Church  Collection  boards,  1882 

Hemshaw.    Laus  Deo   "  1883 

Emerson.    Concert  Selections   "  1883 

Fiske.    Mass  in  E  flat  paper,  1883 

Koschat.     Holiday  Scenes  in  Karinthia  (sop.  and  male  voices)    "  1883 

Wels.    Third  Mass   "  1883 

Hodges.    Rebecca   "  1883 

Colleciion.    Choice  Sacred  Solos  boards,  1883 

Sisters  of  Notre  Dame.  Wreath  of  Mary   "  1883 

Perkins.    Star  Chorus  Book   "  1884 

Strachauer.    Church  Music   "  1884 

erkins,  {H.  S.)   Perkins'  Choir  Anthems   "  1884 


secretary's  report.  199 

Dow.    Collection  of  Responses  and  Sentences.  boards,  1884 

Oonvy.    Awakening  of  Spring  paper,  1884 

Darling.    Out  of  the  Depths   "  1884 

Ouilmant.    Third  Mass   "  1884 

Thayer.    Mass  No.  1  in  E  flat   "  1885 

Leonard.    Mass  in  E  flat   "  1885 

Leach.    Ctiurch  and  Home  boards,  1885 

Werner.    Memorare     "  1885 

Zerralm.    Apograph   "  1885 

Ballard.    Ninety-flrst:  Psalm  paper,  1885 

Perkins,  {H.  8.)   Easter  Anthems     "  1885 

Lewis.    Caught  Napping   "  1886 

Goe.    Merry  Company   "  1886 

Trowbridge.    Emmanuel   "  1886 

Sisters  of  Notre  Dame.    Cantabo  Domino  boards,  1886 

Hitter.    Laudamus   "  1887 

Sisters  of  Notre  Dame.    Sabbath-school  Hymn  Book  paper,  1887 

Reuberger.    Schubert's  German  Dances  (male  voices)   "  1887 

Lackenbacher,    Memoirs  of  a  Piano  (male  voices)   "  1887 

Leonard.    Unison  Mass  in  F   "  1887 

Kiel.   An  Idyll   "  1887 

Emerson.    Emerson's  Easy  Anthems  boards,  1888 

Dow.    Sacred  Orpheus  (male  voicef)   "  1888 

Leonard.    Third  Mass  B  flat  paper,  1888 

Pilcher.    Messe  Solennelle  in  D  boards,  1888 

Lewis.    Christmas  at  the  Kerchiefs  paper,  1888 

Lewis.    Dairymaid's  Supper   "  1888 

Selections.  Father  Kemp's  Old  Folks'  Concert  Tunes  Revived,  boards,  1889 

Oans.    Second  Mass  ,  paper,  1889 

Rocholl.    Catholic  Vocalist  boards,  1889 

Selections.    Choice  Sacred  Solos  (low  voice)   "  1889 

Gabriel.    New  and  Select  Anthems   "  1889 

Macy.    Strange  Visitors  paper,  1889 

Emerson.    New  Responses  boards,  1889 

Zerrahn.    Index  >. .  "   

Costa.    Naaman   "  .... 

Costa.    Eli   "   

Stanford.    Three  Holy  Children  paper,  

Rheinberger.    Christoforus   "  .... 

Zoellner.    Battle  of  the  Huns   "  .... 

Hoffman.    Fair  Melusina   "   

Anderton.    Wreck  of  the  Hesperus   "   

Gounod.    Messe  Solennelle   "  .... 

Beethoven.    Mass  in  C   "  .... 

Stearns.    Mass  in  A  boards,  . . . . 

Rossini.    Stabat  Mater  paper,  . . . . 

Cherubim.    Messa  Solenne  in  E   "      , . . . 

Berlioz.    Flight  into  Egypt    


200 


MUSIC  teachers'  national  association. 


Romberg.    Song  of  the  Bell    boards,  


162  works. 

contributed  by  the  century  company. 

C.  8.  Robinson.  D.  D.    Songs  for  the  Sanctuary  cloth,  1865 

"  "         "  "         chapel  edition  "  1872 

"      "         "        Psalms  and  Hymns  and  Spiritual  Songs  "  1875 

"      "         "        Spiritual  Songs  for  Social  Worship   "  1878 

"       "         "        Spiritual  Songs   "  1881 

"       "  "  "         "     for  Sunday  schools. .. .  "  1881 

"  "        Laudes  Domini   "  1884 

abridged  edition   "  1884 

"      "         "  "         "      for  Sunday-schools   "  1884 

W.  8.  Pratt.    Songs  of  Worship    "  1887 

Washington  Gladden,  D.  D.    Parish  Problems   "  1887 

Richard  Oleason  Qreene  and  W.  8.  Pratt.    Aids  to  Common 

Worship   "  1887 

12  books. 


CONTRIBUTED  BY  NOVELUO,  EWER  &  CO. 

Fetis.    Treatise  on  Choir  and  Chorus  Singing.    Translated  by  Helmore. 
Ellis.    Speech  in  Song. 

Silcher.    Succinct  Instruction  for  Guidance  of  Singing  Schools.  Trans- 
lated by  S.  Novello. 
Archer.    The  Organ  A  Theoretical  and  Practical  Treatise. 
Best.    Art  of  Organ  Playing.    2  volumes. 
Pole.    Story  of  Mozart's  Requiem. 
Stainer.    The  Music  of  the  Bible. 
Lussy.    Musical  Expression. 
Troutbeclc.    Church  Choir  Training. 

Spitta.    J.  S.Bach,  his  Work  and  Influence.    Translated  by  Clara  Bell 

and  J.  A.  Fuller-Maitland.    3  volumes. 
Krehbitl.    Reviews  of  New  York  Musical  Seasons.    4  volumes. 
Noddlo.    Collection  of  Words  of  Anthems. 
13  works. 

CONTRIBUTED  BY  MR.  MAX  LECKNER,  OF  INDIANAPOLIS.  IND. 

Hopkins  and  Rimbault.    The  Organ,  its  History  and  Construction;  Lon- 
don, 1870. 

"  "         Les  Psaumes  de  David  (French).    La  Haye  et 

Rotterdam,  1702. 

2  books. 

CONTRIBUTED  BY  THE  CHURCHMAN  PUBLISHING  COMPANY- 

One  free  subscription  to  the  Churchman  for  one  year. 


secretary's  report. 


201 


REPORT  ON  THE  PRILOSOPHICAL  RELATION  OF  CHURCH 
MUSIC  TO  PUBLIC  W0R8HIP. 

The  diflQculty  of  the  subject  assigned  to  me  is  obvious  But  its 
importance,  too,  is  obvious.  Music  and  public  worship  have  been  long 
and  widely  associated  together,  and  their  association  is  usually  unques- 
tioned. It  would  be  useless  to  raise  an  objection  to  their  union  simply 
for  the  sake  of  argument.  Our  inquiry  is  only  into  the  nature  and  extent 
of  their  relation.  This  inquiry  cannot  be  evaded  by  any  thoughtful  and 
conscientious  church  musician,  for  upon  his  answer  to  it,  whether 
reached  by  an  iqstinctive  impulse  or  by  a  slow  process  of  reasoning, 
depend  the  entire  aim  and  character  of  his  practical  work.  The  artistic 
temperament  is  averse  to  philosophical  inquiry  as  such,  yet  the  condi- 
tions of  professional-activity  absolutely  necessitate  some  attempt  to  dis- 
cover the  "  why  "  of  its  various  duties  in  order  to  reach  the  right  "how" 
of  them.  In  attacking  the  great  question  before  us  I  cannot  hope  to  do 
more  than  state  as  simply  and  clearly  as  I  can  the  process  of  reasoning 
through  which  my  own  mind  has  passed  regarding  my  owa  work  as  a 
church  musician  and  as  a  teacher.  Exactly  how  my  views  will  correspond 
with  those  of  others  is  not  for  me  to  say. 

The  entire  question  turns  upon  the  views  we  take  of  the  real  nature 
of  music  and  of  public  worship.  Given  distinct  conceptions  of  our 
principal  terms,  and  there  is  comparatively  little  difficulty  in  telling 
whether  or  not  they  can  be  brought  into  vital  relation  to  each  other  and 
if  so  in  what  way.  Without  such  conceptions,  argument  is  ambiguous, 
and  conclusions  uncertain. 

Music  is  often  tacitly  or  openly  held  to  be  merely  an  inanimate 
thing,  entirely  disassociated  from  life.  Such  a  view  will  not  serve  us 
here.  For  us,  music  must  be  conceived  more  deeply  as  the  product  of 
living  men,  and  a  product  in  which  the  tokens  of  its  living  origin  are 
remarkably  preserved.  This  conception  becomes  more  inevitable  if  we 
ask,  what  impels  men  to  produce  and  re-produce  and  study  music  ? 
Obviously,  on  the  subjective  side  music  is  produced,  like  all  fine  arts, 
under  the  combined  stress  of  the  artist's  delight  in  an  idea  present  to  his 
imagination  and  of  the  mechanician's  love  of  construction,  and  on  the 
objective  side  It  is  called  forth  either  by  the  market  or  the  fame  that 
awaits  it  or  by  the  knowledge  of  some  social  or  moral  purpose  or  result 
that  it  may  achieve.  It  is  either  poured  forth  spontaneously  under  a 
pressure  from  within,  or  drawn  forth  by  a  demand  fn^m  without.  In 
either  case,  it  proceeds  from  the  mind  of  a  living  man.  It  is  a  product  of 
life.  Exactly  how  the  mental  faculties  co-operate  in  producing  it  is  a 
debateable  question.  But  evidently  both  intellect  and  feeling  have  part 
in  the  process.  To  explain  the  facts,  it  must  also  be  admitted  that,  in  all 
typical  cases  at  least,  intellect  and  feeling  are  so  deeply  stirred  in  the 
process  that  through  them  the  whole  man  is  stirred,  or,  in  other  words, 
that  the  action  of  both  is  controlled  and  moulded  by  the  moral  nature. 
Analysis  may  fail  to  unravel  the  intricacies  of  this  mystery,  but  its 


202  MUSIC  TEACHEKS'  NATIONAL  ASSOCIATION. 

general  character  cannot  be  successfully  disputed.  Music  is  a  product  of 
the  human  mind  working  more  or  less  in  its  totality,  in  its  union  of 
intellect,  sensibility  and  will.  It  follows,  then,  that  music,  being  the 
offspring  of  a  living  human  spirit,  must  bear  in  some  way  the  likeness  of 
that  spirit.  This  is  nearly  universally  granted  with  respect  to  the  greater 
musical  productions,  and  must  therefore  be  granted  in  some  degree  for 
all  others  of  any  importance.  Music,  in  short,  is  an  expression,  a  voice, 
a  message,  often  unconsciously  put  forth,  yet  not  really  less  indicative 
than  other  utterances  of  the  human  spirit,  such  as  facial  expression, 
gesture  and  speech  itself.  No  profound  study  of  music  in  any  relation  is 
possible  if  this  vital,  human,  personal  aspect  of  it  is  ignored.  It  is  not  a 
mere  thing,  but  a  proclamation  of  something  from  the  depths  of  a  living 
soul. 

If  music  be  such  a  proclamation,  of  what  does  it  speak  ?  It  is 
commonly  said  that  music  is  the  peculiar  language  of  feeling  as  dis- 
tinguished from  reason  and  conduct.  It  is  undeniable  that  feeling  finds 
in  the  dialect  of  tones  resources  of  utteraLce  that  are  nowhere  else  so 
liberally  provided.  But  it  is  not  true  that  music  utters  feeling  only.  It 
utters  feeling  more  adequately  than  any  other  mental  function.  But  it 
utters  thought  of  certain  kinds,  though  not  of  all  kinds,  with  intense 
vividness.  At  first  sight  it  seems  to  have  little  to  say  from  the  moral 
nature  taken  by  itself.  But  the  moment  we  remember  the  indispensable 
work  of  the  will  in  superintending  the  action  of  the  intellect  and  the 
sensibility,  and  in  general,  the  invisible  unity  of  action  between  all  parts 
of  the  mind,  we  see  that  every  genuine  voice  of  the  spirit  must  to  some 
degree  bring  messages  from  the  spirit  as  a  whole.  Music,  therefore,  is 
an  utterance  of  the  entire  human  personality,  having  an  apparent 
emphasis  upon  emotion,  but  with  indisputable  intellectual  and  moral 
implications.  This  argument  is  doubtless  plainest  in  the  case  of  vocal 
music,  in  which  the  logical  precision  of  words  is  superimposed  upon  the 
emotional  fulness  of  tones.  A  mingling  of  speech  and  tone,  as  in  a  song, 
instrumentally  accompanied,  is  surely  the  amplest,  the  most  varied  and 
the  most  wonderful  of  the  channels  of  human  utterance.  Instrumental 
music  alone  may  seem  somewhat  impersonal,  but  song  illustrates  our 
point  beyond  the  reach  of  dangerous  objection.  The  force  of  this  reason- 
ing is  not  broken  by  citing  petty  examples  in  which  meaning  or  content 
is  minimized,  or  by  recalling  the  immense  difficulty  of  defining  in  words 
exactly  what  meaning  a  given  musical  utterance  contains.  We  may 
safely  assert  that  all  music  is  an  utterance,  and  an  utterance  that  em- 
bodies an  indication  of  the  producer's  whole  nature. 

We  now  advance  to  ask  whether  music,  thus  considered,  is  a  means 
to  an  end  or  an  end  in  itself.  The  analogy  of  verbal  language  will  help 
us  here.  The  primary  purpose  of  speech  is  intercommunication,  the 
putting  of  the  invisible  activities  of  one  human  spirit  into  such  sensuous 
shape  as  to  make  them  transferable  to  another  human  spirit.  Speech, 
therefore,  facilitates  the  interaction  of  different  personalities  on  each 
other,  and  is  thus  one  of  the  foundations  of  society  and  civilization  in 


secretary's  report. 


203 


their  highest  form.  The  primary  purpose  of  music,  I  conceive,  should  be 
the  same — intercommunication  as  a  condition  of  organization  and 
development.  The  only  apparent  difference  lies  in  the  fact  that  speech 
gerYCS  as  a  counter  for  a  myriad  of  petty  transactions  for  which  music  is 
absolutely  unsuitable.  But  the  anology  between  speech  and  music  will 
be  found  to  hold  in  all  matters  of  genuine  importance.  Music,  then, 
like  speech,  is  a  means  to  an  end.  Its  value  is  to  be  measured  by  the 
nature  of  the  end  toward  which  it  may  be  directed. 

We  cannot  here  pursue  either  of  these  three  propositions  into  details 
or  elucidate  them  by  illustration.  And  we  may  pause  but  an  instant  to 
note  how  radically  opposed  they  are  to  certain  current  conceptions  of 
music.  We  all  know  that  instead  of  being  respected  as  a  product  of  a 
living  human  spirit,  music  is  continually  being  tossed  about  as  only  a 
curious  plaything,  a  lifeless  but  brilliant  bit  of  bric-a-brac,  at  most  a 
voiceless  and  soulless  instrument  of  sensuous  pleasure.  Instead  of  being 
seriously  received  as  a  complex  language,  fraught  with  expression  from 
the  whole  marvelous  breadth  of  man's  soul,  it  is  takeil  as  but  an 
operatic  cry  of  mere  sentiment  or  sentimentality,  practically  devoid  of 
rational  or  moral  quality.  Instead  of  being  reverently  used  as  a  medium 
whereby  one  spirit  may  touch  another  and  may  communicate  itself  to 
another,  it  is  deliberately  made  a  matter  of  purely  impersonal  technique, 
without  further  significance  or  design  or  utility  than  to  be  made  and  re- 
made and  examined  in  an  infinite  round  of  reproduction. 

Against  each  of  these  conceptions  of  music,  as  of  all  similar  concep- 
tions of  the  fine  arts  in  general,  we  must  urgently  protest.  Each  of  them 
has  found  a  place  in  shaping  current  notions  of  music  in  public  worship. 
But  all  such  narrow  views  must  be  abandoned  before  a  theory  of  church 
music  can  be  framed  that  can  stand  the  fire  of  real  criticism. 

Public  worship  is  usually  defined  as  an  expression  on  man's  part  of 
homage,  confession  and  supplication  to  God.  Public  worship,  then,  is 
such  an  expression  on  the  part  of  an  assembly  or  organization,  for  obvious 
reasons  embodied  in  a  visible  or  audible  form,  especially  in  speech  or 
song.  These  definitions,  however,  on  close  scrutiny  prove  to  be 
inadequate.  It  is  wiser  to  say  that  v/orship  is  an  act  of  intercourse 
between  man  and  God,  involving  as  concerns  man  both  impression  and 
expression.  Public  worship,  then,  is  such  an  act  of  reciprocal  inter- 
course between  an  assembly  or  organization  and  God,  involving  utter- 
ances on  both  sides,  with  more  or  less  intercommunication  among  the 
individuals  composing  the  human  party  to  the  transaction,  the  whole 
necessarily  embodied  in  sensuous  form,  mostly  language  and  music. 
Under  this  latter  definition  every  item  of  what  is  called  public  worship^ 
however  conducted,  may  be  satisfactorily  arranged.  The  address  of 
the  assembly  to  God  is  best  illustrated  by  the  prayers  and  by  most  of  the 
hymns,  the  address  of  God  to  the  assembly  by  that  large  class  of  scripture- 
readings  covered  by  the  term  "  didactic  "  and  by  distinctly  expository 
sermons,  and  the  address  of  man  to  man  within  the  assembly  by  hortatory 
#    sermons  and  by  h3^mns  of  mutual  character.    Numerous  other  varities  of 


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MUSIC  teachers'  national  association. 


exercise  appear  in  actual  public  worship,  some  of  which  are  of  a 
decided!}^  mixed  or  even  ambiguous  nature.  We  need  only  observe  here 
that  this  way  of  regarding  public  worship  emphasizes  three  cardinal 
points:  (1).  That  it  is  a  reciprocal  act,  having  two  or  three  somewhat 
distinct  aspects  or  currents  of  operation;  (2)  that  its  essence  is  spiritual 
and  invisible,  a  communion  between  "  the  Father  of  Spirits"  and  the 
human  soul,  the  criteria  of  which  are  found  only  in  consciousness  or  by 
inferential  evidence;  but  (3)  that  so  far  as  it  is  public  worship  it  is 
inevitably  embodied  in  some  tangible  form,  which  is  a  sensuous 
phenomenon  and  therefore  subject  to  iuspection  and  to  objective  criticism 
genera,  ly. 

It  is  convenient  at  this  point  to  distinguish  somewhat  sharply  between 
on  the  one  hand  (a)  Species  or  varieties  of  worship,  whether  express- 
ively proceeding  from  man  or  impressively  directed  towards  him,  all  of 
which  are  essentially  physchological  or  internal,  and  on  the  other  (b) 
Modes  and  forms  of  worship,  expressive  or  impressive,  all  of  which  are 
essentially  phenomenal  or  external,  together  with  what  may  be  called  (c) 
Accessories  of  worship,  concomitants  or  circumstances  of  worship,  often 
expressive  on  the  part  of  individuals  who  supply  them,  but  mainly  in- 
tended for  man-to-man  impression. 

This  classification  perhaps  should  be  carried  a  step  or  two  for 
clearness.  Among  the  expressive  features  of  worship  may  be  specially 
named  humiliation,  supplicati<m,  profession,  thanksgiving  and  adora- 
tion, all  of  which  are  spiritual  attitudes  or  exercise  on  man's  side 
directed  toward  God.  Among  the  most  impressive  species  f  worship 
ma}^  likewise  be  named  command,  instruction,  warning,  entreaty  and 
blessing,  all  of  which  are  spiritual  attitudes  or  exercises  on  God's  side 
directed  toward  man.  These  species  are  all  invisible.  They  are 
similarly  present  in  all  genuine  private  and  public  worship.  Public 
worship  in  this  particular  differs  from  private  onh'  in  the  fact  that  the 
individual  is  acting  in  the  former  not  onl}^  in  his  individual  capacity,  but 
as  a  member  of  a  local  assembly  and  of  the  church  universal.  A 
philosophical  discussion  of  worship,  public  or  private,  is  properly 
almost  whoily  confined  to  discussions  of  this  part  of  the  general  subject. 

The  chief  expressive  modes  of  worship  are  speech,  whether  in  the 
form  of  prayer,  reading  or  recitation,  song  and  sacrifice,  (the  giving  up  of 
money,  time,  attention,  etc.,)  each  of  which  may  be  used  by  the  wor- 
shiper, either  directly,  in  his  own  person,  or  to  some  extent  representa-  * 
tively,  through  some  one  who  stands  in  his  stead  by  his  own  choice.  The 
chief  impressive  modes  of  worship  are  speech,  whether  in  the  form  of 
biblf^-reading,  preaching  or  teaching  and  song,  each  of  which  must 
necessarily  reach  the  assembly  not  through  a  direct  audible  utterance 
of  God  Himself,  but  representatively,  as  the  utterance  of  a  chosen 
spokesman  on  His  behalf,  from  a  divine  herald.  It  is  clear  that  any 
species  may  be  embodied  in  anj  mode;  but  in  no  case  may  the  mode  rise 
to  an  equal  dignity  with  the  species  it  encloses.  The  species  is  the  vital 
kernel  of  which  the  mode  is  but  the  outer  shell.     Any  discussion  of  the  * 


SECRETARYS'  REPORT. 


205 


modes  or  forms  of  worship  that  ignores  their  secondary  nature  is  not  only- 
useless  but  highly  unphilosophical.  Perhaps  nine-tenths  of  the  ordinary 
discuss  ons  about  public  worship  are  mere  battles  about  ways  aud  means 
that  are  absolutely  devoid  of  principal  or  value. 

Among  the  accessories  of  worship  may  be  mentioned  architecture, 
instrumental  music  and  behavior,  together  with  all  such  interchange  be- 
tween worshipers  through  speech  or  song  as  merely  conduces  to  worship. 
All  of  these  are  expressive  on  the  part  of  the  person  from  whom  th^  pro- 
ceed, but  impressive  on  all  the  rest.  Accessories  have  no  great  im|iortance 
in  themselves,  but  only  as  they  lead  to  something  deeper  or  more  real. 
As  truly  as  a  mode  has  no  value  unless  it  grows  out  0/ a  species,  so 
an  accessory  has  no  value  unless  it  grows  into  a  species. 

We  need  only  add  that  the  actual  experience  of  the  species  of  wor- 
ship; whether  expressive  or  impressive,  is  obviously  not  possible,  except 
on  the  part  of  the  worshiper  himself.  He  cannot  delegate  to  another 
either  penitence  or  the  reception  of  instruction  or  any  other  spiritual 
experience.  On  the  other  hand,  in  connection  with  both  the  modes  and. 
the  accessories  there  ia  not  only  the  possibility  but  the  necessity  of  more 
or  less  delegation  of  activity.  An  assembly  cannot  ali  at  once  engage  in 
an  unpremeditated  spoken  prayer  any  more  than  in  an  extunpore  hymn. 
E>pecial]y  is  the  whole  economy  of  public  worship  profoundly  influenced 
by  the  fact  that  the  Almighty  no  longer  speaks  in  audi*ble  tones  to  His 
people.  All  impressive  exercises,  whether  modal  or  accessorial,  must 
come  through  a  representative  and  a  human  representative.  Chief 
among  representative  officials  is,  of  course,  the  officiating  minister  or 
clergyman.  Side  by  side  with  him  in  this  regard  should  be  every  other 
special  official,  like  the  organist  and  the  choir.  Whatever  is  true  of  one 
class  of  representative,  is  true  of  the  lest. 

This  analj^sis  of  the  nature  of  public  worship  prepares  us  fo^  a  rule 
regarding  both  the  officials  and  the  outward  exercises  connected  with  it, 
namely,  that  no  one  should  officially  participate  in  its  management  who 
is  not  a  genuine  worshiper  on  his  own  behalf,  and  that  noihing  should 
be  done  as  a  part  of  public  worship  that  is  not  itself  distinctly  an  expres- 
sion of  spiritual  intercourse  between  man  and  God,  or  that  does  not 
deliberately  conduce  to  such  intercourse.  The  practical  application  of 
this  rule  is  not  easy,  but  the  more  it  is  used  the  more  its  marvelous 
potency  will  be  felt.  It  completely  ignores  such  petty  considt-rations  as 
caprice,  prejudice,  tradition  and  sectarianism,  and  carries  the  entire  sub- 
ject up  to  a  plane  where  all  sinceie  believers  in  a  divine  Father  can  meet 
in  unity.  It  completely  avoids  the  prevalent  error  of  making  an  out- 
ward manner  or  order  the  principal  thing  in  public  worship,  and  exalts 
the  inward  spirit  and  meaning  of  the  act  into  its  rightful  supremacy.  It 
puts  a  mark  of  condemnation  on  every  sort  of  flippant,  worldly  and 
hypocritical  performance  that  may  have  crept  into  the  house  of  God,  and 
bows  in  respect  before  every  act,  however  humble  or  artless,  which 
bespeaks  or  nourishes  a  real  kinship  between  the  Almighty  and  those 
who  would  be  His  children.    It  affords  for  us  a  convenient  bridge  of: 


206 


MUSIC  teachers'  national  association. 


thought  whereby  to  pass  over  from  the  abstract  analysis  of  music  and  of 
public  worship  to  a  few  practical  observations  about  their  mutual 
relations. 

Instead  of  entering  upon  a  wearisome  dissertation  upon  the  manifold 
ramifications  of  this  great  subject,  let  us  content  ourselves  with  a  series 
of  brief  remarks  that  may  serve  to  indicate  how  the  principlea  advocated 
in  the  preceding  pages  find  their  concrete  application.  We  will  follow 
the  s^e  order  of  topics  here  as  before. 

If  it  be  true  that  real  music  is  not  merely  an  object  for  inspection 
but  a  product  of  a  living  spirit,  it  is  clear  on  the  one  hand  that  music 
should  not  be  interjected  into  so  solemn  a  transaction  as  an  interview 
between  man  and  God,  much  less  be  made  a  medium  of  intercommunica- 
tion there,  unless  it  be  the  utterance  of  a  devout  spirit,  and  on  the  other 
that  truly  devotional  music  should  be  received  and  treated  generally 
with  exactly  the  same  respectful  attention  that  truly  devotional  speech 
is.  Music  that  is  not  an  utterance  of  the  inmost  self  is  a  theatrical  show. 
Church  music  of  this  hollow  quality  is  simply  a  masquerade  of  sacred 
things.  On  the  other  hand,  what  shall  be  said  for  the  folly  and  iniquity 
of  the  usual  attitude  of  Christian  churches  toward  what  they  are  pleased 
to  call  "the  service  of  praise?"  The  entire  musical  administration  in 
many  places  is  simply  preposterous  from  top  to  bottom  if  music  has  any 
genuine  quality  as  a  spiritual  utterance.  Which  party  is  the  more  open 
to  satire  and  rebuke:  the  musical  profession,  to  which  church  work  is 
such  a  lucrative  field  of  evolution,  or  the  congregations  and  oflicials  of 
churches  whose  Christian  common-sense  is  stampeded  by  rudimentary 
musical  questions,  it  is  indeed  hard  to  say. 

If  music  be  a  language,  its  capacities  as  a  language  should  be  dili- 
gently considered  in  whatever  work  it  is  set  to  do.  Although  its  intel- 
lectual and  moral  capacity  is  largely  underestimated,  it  must  be  admitted 
that  for  the  present  instrumental  music  is  mainly  important  for  its  emo- 
tional expressiveness  and  influenciB.  Vocal  music,  too,  is  customarily  so 
used  as  to  eliminate  much  of  its  value  except  as  a  specialized  variety  of 
instrumental  music.  But  in  the  combination  of  speech  with  song  there 
is  the  possibility  of  effecting  a  much  more  perfect  utterance  of  the 
human  spirit  as  a  whole  than  is  generally  realized.  If  music  is  to  be 
used  in  church  worship,  the  conspicuous  union  of  the  intellectual,  the 
emotional  and  the  moral  elements  is  a  necessity.  Anything  less  will 
result  in  waste  and  misunderstanding. 

If  the  purpose  of  music  as  a  language  be  intercommunication  as  a 
condition  of  organization  and  growth,  church  music,  to  justify  its  exist- 
ence, must  demonstrate  its  power  to  aid  in  that  intercommunication 
which  is  the  condition  of  all  genuine  religious  progress.  If  it  is  to  be 
used  as  a  religious  weapon,  its  qualities  must  be  more  widely  known 
and  more  wisely  employed  than  is  now  the  case.  It  is  probable  that  the 
<;hurch  of  the  future  will  have  a  musical  department  not  less  prominent 
and  effective  than  its  Sunday-school  department  now  is.    To  this  end, 


secretary's  report. 


207 


•very  minister  should  study  church  Ausic  as  a  cadet  studies  tactics,  and 
every  church  musician  should  be  trained  as  a  parochial  assistant. 

It  is  obvious  that  music  cannot  be  itself  a  species  of  worship.  It  is 
not  coordinate  with  such  elements  of  worship  as  supplication  or  instruc- 
tion. It  must  always  be  a  mode  or  accessory  of  worship,  and  thus  co- 
ordinate with  prayer  and  preaching. 

As  a  mode  of  worship,  music  is  plainly  more  suitable  for  containing 
ideas  in  which  a  large  amount  of  feeling  is  present.  It  is  unavailable  for 
the  detailed  recital  of  items  or  arguments,  and  for  everything  in  which 
the  logical  and  the  critical  are  prominent.  Musical  settings  of  doctrine 
and  of  extended  prayers  are  unpractical,  as  of  the  ten  commandments  or 
of  a  sermon.  As  a  mode  of  worship,  music  in  the  church  is  always  to  be 
judged  by  reference  to  the  species  of  worship  it  embodies.  It  has 
absolutely  no  value  of  its  own.  "  Art  for  art's  sake  "  has  no  fitness  as  a 
choir  motto.  Particularly  is  attention  due  to  this  when,  as  must  be  often 
the  case,  music  is  introduced  into  a  service  as  a  representative,  delegated 
exercise.  Self-effacement  is  often  the  cardinal  virtue  of  a  church 
musician. 

The  immense  value  of  instrumental  music  as  an  accessory  of  public 
worship  is  only  beginning  to  be  known.  The  voice  of  "  the  king  of  in- 
struments" ought  everywhere  to  be  heard  with  regal  power  as  a  prepara- 
tion for  verbal  exercises,  as  a  connective  between  successive  exercises, 
and  as  a  seal  upon  the  service  as  a  wimble.  But  how  few  organists  are 
ready  to  wield  their  power  in  this  regard  with  deliberate  and  convincing 
effectiveness.  The  accessoral  use  of  vocal  music  in  conveying  from  man 
to  man  within  an  assembly,  thoughts  and  feelings  stimulative  of  real 
worship  is  common,  but  unfortunately  not  in  entirely  good  artistic  repute. 
Musicians  are  sometimes  wonderfully  unwilling  to  shoot  anything  but 
blank  cartridges  and  to  aim  anywhere  but  into  space. 

If  there  be  any  validity  to  the  rule  about  official  leaders  and  about 
the  make-up  of  a  service  of  worship,  its  application  should  not  fail  in  the 
music  department.  The  only  way  that  the  toleration  of  irreligious 
church  musicians  and  of  entirely  undevotional  music  in  so  many  of  our 
churches  can  be  explained  is  to  take  refuge  in  a  sophistical  philosophy 
of  the  relation  of  music  to  church  worship  or  to  plead  ignorance  or 
indolence.  The  one  explanation  is  foolish,  and  the  second  contemptible. 
Signs  are  observable  throughout  the  country  that  christian  common- 
sense  is  awaking  upon  this  subject.  Instinctively  in  many  quarters 
changes  are  being  made  that  point  to  a  strictly  religious  use  of  music  in 
religious  connections.  The  theory  of  the  matter  is  also  receiving  careful 
attention,  and  becoming  a  topic  of  current  christian  discussion  and  of 
formal  instruction  in  various  circles. 

Whether  the  net  outcome  of  this  tendency  of  the  time  in  America 
shall  be  the  acceptance  of  a  view  of  the  philosophical  relation  of  music 
and  public  worship  at  all  like  that  of  this  essay  is  of  small  moment,  pro- 
vided only  that  the  process  of  analysis,  discussion  and  revolution  goes  on 


208 


MUSIC  teachers'  national  association. 


until  a  condnsion  is  reached,  in  which  the  inherent  dignity  and  immense 
gcope  of  both  fields  are  adequately  recognized  and  their  mutual  relations 
fixed  upon  the  highest  possible  considerations. 

Waldo  S.  Pratt,  Chairman. 

REPORT  OF    COMMITTEE  UPON  NA.TIONAL   METHODS  OF 
MUSICAL  INSTRUCTION-YOCAL  SECTION. 

Many  difficulties  have  confronted  the  committee  in  this  department. 
The  absorbing  professional  engagements  of  the  members  made  it  im- 
possible to  devote  much  time  to  the  work.  The  distance  of  the  members 
from  each  other  made  an  actual  meeting  impracticable;  and  when 
correspondence  was  at  length  opened,  the  subject  proved  to  be  in  such 
shape  that  much  preliminary  discussion  of  plans  and  terms  would  inter- 
vene before  a  common  ground  to  build  upon  could  be  found.  The  brief 
account  of  our  proceedings  is  as  follows:  It  was  impossible  to  get  at 
work  until  April  or  May  1,  but  at  that  time  the  chairman,  in  order  to 
begin  proceedings,  wrote  out  his  individual  views  of  the  subject  upon 
this  general  plan. 

First  the  whole  question  of  the  treatment  of  voices  and  the  grading 
and  systematizing  of  a  course  in  voice  culture  and  singing  was  considered 
under  six  heads  as  follows: 

1.    Musicianship.— Meaning  that^^hich  is  absolutely  necessary  to  eflacient 
use  of  a  cultivated  voice,  viz. ;  ear  training,  the  rhythmic  sense 
and  the  ability  to  analyze  masic  and  read  it  at  sight. 
Tone  I  Toduction. — In  four  departments,  register,  placing,  resonating 
and  breath  support. 

S.    Declamation. — Or  the  use  of  language  for  impassioned  expression. 

Jf.    Execution. — Referring  to  phrasing  style  and  agility. 

5.  Expression, — Including  the  various  means  of  arousing  emotion  and 

producing  a  mood. 

6.  Collaterals. — Or  those  accessories  to  singing  which  may  enhance  it  as 

piano,  literature,  composition,  form  and  languages. 

Each  one  of  these  departments  was  then  considered  in  detail,  and 
the  specifications  under  each  head  were  arranged  in  six  grades. 

A  considerable  number  of  representative  songs  were  selected  and 
graded  to  correspond  with  the  grades  in  musicianship,  tone  production, 
etc.  Thus  we  had  a  general  map  of  the  subject  which  was  submitted  to 
the  committee,  not  for  adoption  as  a  whole,  but  as  a  basis  for  deliber- 
tion.  One  of  the  members  endorsed  the  plan  in  the  shape  it  was  pre- 
sented, so  far  as  he  had  found  time  to  think  it  over.  The  other  wrote 
that  the  courss  usually  adopted  by  himself  in  conducting  vocal  study 
differed  in  some  material  respects  from  the  one  submitted,  and  he  after- 
ward i^ave  partial  details  of  a  graded  course  which  clearly  outlined  the 
best  European  and  especially  the  Italian  customs  in  vocal  education. 

The  discrepancy  thus  arising  was  probably  however  not  so  great  as 
would  at  first  appear.    But  as  there  was  no  more  time  for  correspondence 


SECRETARY  S  REPORT. 


209 


we  have  not  been  able  as  yet  to  come  any  nearer  together,  and  the  fore- 
going is  submitted  to  the  Association  to  show  that  a  beginning  at  last 
has  been  made.  As  good  singing  has  certain  marked  and  invariable 
characteristics,  the  methods  which  produce  good  singers,  however 
different  they  may  seem  at  a  superficial  glance,  must  all  be  founded  upon 
certain  fundamental  principles,  and  these  principles  can  doubtless  be 
found  and  stated  if  investigation  is  pushed  far  enough. 

Frederic  W.  Root. 

Geo.  L.  Osgood. 

Wm.  L.  Tomlins. 

REPORT  ON  MUSIC  IN  PUBLIC  SCHOOLS. 

We  assume  that  a  course  in  music  for  the  Public  Schools  means:  (a) 
proper  instruction  and  training  in  voice  culture,  or  teaching  the  right 
use  of  the  voice;  (b)  proper  instruction  and  training  in  singing;  and  (c) 
proper  instruction  and  training  in  writing  music  from  hearing,  and  in 
right  singing. 

We  recognize  that  in  each  division  of  this  subject  there  are  real 
objects  or  things  which  are  to  be  taught  and  learned,  and  certain  things 
which  the  pupils  are  to  learn  to  do.  We  further  realize  that  it  is  the 
pupil's  intelligent  and  persistent  effort,  following  upon  his  desire  and  his 
will  or  purpose  to  know  and  to  do,  that  will  enable  him  to  accomplish 
the  same. 

We  recognize  further  that  there  is  a  natural  unfolding  of  each 
division  of  the  subject,  and  a  right  and  natural  way  to  practice.  Hence 
our  system  is  to  seek  these  natural  lines,  to  teach  the  real  things ;  to  point 
out  the  right  practice;  and  beginning  with  the  things  suited  to  the 
youngest  pupils,  lead  on  gradually  as  the  age  and  ability  of  the  pupils 
increase,  through  each  successive  step,  until  the  children  who  complete 
the  Common  School  course  may  have  a  well-classified  knowledge  of  the 
subject  of  vocal  music  in  its  several  divisions;  and  may  universally  be 
able  to  write  any  ordinary  music  from  hearing  it;  may  have  musical 
thoughts  of  their  own;  may  understand  and  be  able  to  express  well  the 
musical  thoughts  of  others;  may  sing  all  ordinary  music  at  sight,  and 
thus  be  fitted  to  participate  in  all  of  the  common  uses  of  music  in  the 
home  and  in  society. 

It  requires  much  thought,  discussion  and  labor  to  formulate  and 
prepare  a  course  of  study  alone:  these  lines  which  shall  meet  your  wish, 
which  shall  appeal  to  the  judgment  and  good  sense  of  educators  gener- 
ally, and  which  may  be  accepted  by  all  as  a  proper  development  of  the 
subject  to  which  the  Music  Teachers'  National  Association  can  give  its 
unqualified  approval. 

We  beg  the  continuance  of  our  present  committee,  and  plenty  of 
time  to  fully  complete  the  course.  N.  Coe  Stewart. 

W.  F.  Heath. 
Chas.  W.  Landon. 


210 


MUSIC  teachers'  national  association. 


REPORT    OF  COMMITTEE   ON   MUSIC    IN   PUBLIC  SCHOOL 

STATISTICS. 

Your  Committee,  having  canvassed  the  matter  for  which  it  was 
appointed,  beg  to  report  in  consonance  with  the  spirit  which  prompted 
its  appointment,  viz:  to  know  the  exact  status  of  musical  instruction  in 
the  public  schools  of  the  United  States,  that,  in  co-operation  with  the 
National  Educational  Association,  it  might  institute  such  action  as  could 
be  carried  to  a  successful  issue  in  advancing  the  true  interests  of  music 
education — 

First.  There  was  no  appropriation  of  money  to  defray  the  necessary 
expense  of  a  thorough  canvass,  and  our  hands  were  tied. 

Second.  The  rapid  change  which  is  manifestly  taking  place  in  senti- 
ment respecting  State  Associations,  augurs  the  speedy  organization  of 
State  Associations  in  all  States  of  the  Union,  when,  through  the  county 
Vice-Presidents,  the  statistical  matter  can  be  more  readily  and  more 
accurately  gathered,  and  the  influence  arising,  both  from  the  inference  of 
the  statistical  collecting  and  the  dispensing  of  the  information,  will  be 
more  salutary. 

TMrd.  These  things  being  considered,  we  venture  to  suggest:  (a) 
The  continuance  of  your  committee;  (b)  the  appropriation  of  a  sum  of 
money  adequate  to  collect  the  information. 

Fourth.  A  report  of  progress  in  the  Association  meeting  of  1892, 
and  a  final  report  in  1894. 

As  this  seems  to  us  the  wisest  course,  we  most  respectfully  submit 
the  same.  N.  Coe  Stewart. 

B.  Jepson. 

PIANO-FORTE  MUSIC  REPORT. 
The  Committbe  on  Piano  Forte  Music  reports: 

That  progress  has  been  made  in  getting  together  material,  and  that 
by  the  next  meeting  a  complete  report  can  be  presented.  The  time 
has  been  short,  and  the  committee  has  been  unable  to  meet.  In  the 
absence  of  Dr.  Mason  and  Mr.  Matthews,  Mr.  Foote  is  the  only  member 
present. 

TERMINOLOGY  REPORT. 
The  Committee  on  Terminology  Reports: 

That  it  has  been  impossible  to  have  a  meeting  of  all  the  members 
together,  and  that  no  proper  organization  has  been  made,  by  electing  a 
chairman  for  instance.  But  that  Mr.  Pratt,  of  Hartford,  Conn.,  has  ac- 
cumulated considerable  material  and  that  progress  has  been  made.  The 
members  present  here  are  Foote,  Langdon,  Macdougall  and  Root. 


secretary's  report. 


311 


Moved  by  Mr.  Stewart  and  seconded  by  Mr.  Leckner. 

Resolved.  That  a  standing  committee  upon  Constitution,  organiza- 
tion, and  all  matters  effecting  the  practical  workings  of  this  Association 
be  appointed  by  the  President,  with  the  approval  of  the  Executive  Com- 
mittee, to  consist  of  nine  members,  three  to  serve  for  three  years;  three 
for  two  years,  and  three  for  one  year;  all  vacancies  thereafter  arising  by 
the  expiration  of  the  term  of  office  to  be  filled  by  appointments  for  three 
years. 

It  shall  be  the  duty  of  this  Committee  to  recommend  to  the  Associa- 
tion such  new  amendments  and  reforms  calculated  in  their  opinion,  to 
promote  the  work  of  the  Association,  and  to  receive  and  report  under 
instruction  of  the  Association  upon  all  suggestions  (made  in  essays,  or 
through  any  proper  channel,)  bearing  either  upon  the  Constitution,  By- 
laws, or  working  rules  of  the  Association. 

COREESPONDENCE. 

Vienna,  Austria,  June  9,  1890. 
Mr.  H.  S.  Perkins,  Secretary  of  the  M.  T.  N.  A.,  Chicago,  111. 

My  Dear  Sir:  Accompanying  please  find  an  open  letter  to  the 
members  of.  the  M.  T.  N.  A.,  which  I  beg  of  you  to  please  read  before 
the  ladies  and  gentlemen  at  the  business  session.  Unfortunately,  it  is  not 
my  happy  lot  to  be  able  to  assist  at  the  coming  convention,  much  to  my 
regrfet,  I  assure  you,  but  since  it  cannot  be,  I  must  needs  resort  to  this 
rather  clumsy  and  unwieldy  means  of  putting  my  ideas,  contained  in  the 
letter,  I  am  sure,  however,  that  you  and  your  coUeages  of  the  Board  will 
in  the  main  be  in  sympathy  with  the  proposed  measures,  particularly,  if 
you  remember,  that  you  have  three  long  years  to  accomplish  the  by  no 
means  difficult  task.  It  might  be  well  to  drop  all  meetings  for  the  time 
being,  for  the  sole  purpose  of  concentrating  all  our  forces  in  the  World's 
Fair  schemes.  And  what  glorious  achievements  would  be  the  result ! 
They  would  not  only  surprise  the  visitors  of  foreign  lands,  who  as  yet 
know  little,  if  anything,  of  American  music  and  musicians,  they  would 
also  open  the  eyes  our  American  countrymen,  who,  as  a  class,  know  just 
as  little  of  the  matter,  as  you  may  be  well  aware.  Need  I  add  that  the 
glorious  results  would  redound  to  the  glory  of  the  M.  T.  N.  A. ;  It  would 
place  the  society  on  a  level  with  the  "Society  for  the  Promotion  of 
Science,"  while  to-day,  it  is  hardly  known  beyond  the  pale  of  its  own 
membership. 

In  order  to  place  the  matter  before  the  members,  previous  to  the 
business  session,  so  that  they  may  have  ample  time  to  consider  the  matter 
deliberately,  I  took  the  liberty  to  ask  the  Mail  Oarrier  of  New  York  to 
reprint  same  in  the  Festival  Edition .    Hoping  this  to  be  all  right 

I  am,  Yours  Very  Sincerely, 

F.  X.  Arens. 

♦         Mr.  President,  Ladies  and  Gentlemen: 

As  the  proposed  plan  of  biennial  meetings  is  very  likely  to  be 
accepted  at  the  present  business  meeting,  I  would  beg  leave  to  make  a 


212 


MUSIC  teachers'  national  association. 


proposition  in  connection  therewith,  to  wit:  Let  the  M.  T.  N.  A  meet 
at  some  Eastern  City  next  year,  say  at  Buffalo,  I^.  Y.,  and  then  after  a 
lapse  of  two  years,  at  Chicago,  111.  My  reasons  for  this  proposition  are 
as  follows: 

1st.  Three  years  hence,  the  World's  Fair  will  be  held  in  Chicago, 
everybody  will  rush  thither.  As  a  result,  any  meeting  in  any  other  place, 
whether  State  or  National,  will  prove  a  failure  for  lack  of  interest  and 
attendance. 

2d.  Albeit  Chicago  has  had  the  honor  but  two  years  ago,  the  M.  T. 
!N".  A.  must  nevertheless  meet  there  again  in  93,  in  order  to  adequately 
and  worthily  represent  the  progress  of  America  in  the  realm  of  Musical 
Art.  This  is  due  to  the  Association,  and  I  wish  to  emphasize  the  word — 
it  is  also  its  duty. 

I  have  good  reasons  to  fear  that  otherwise  Chicago  will  make  exten- 
sive preparations  for  adequate  exhibits  of  American  Sculpture,  Paint- 
ings, etc.,  but  that  American  Music  will  be  accorded  a  Cinderella-like 
treatment;  nor  could  we  afterwards  make  Chicago  responsible  for  this, for 
the  simple  reason  that  American  painters,  sculptors,  architects,  etc.  have 
come  to  be  recognized,  whilst  as  yet  very  few  are  aware  of  the  wonderful 
progress  of  matters  musical  in  the  United  States,  the  annual  meetings  of 
State  and  National  Associations  notwithstanding.  By  way  of  illustration 
allow  me  to  mention,  that  last  October  the  Chicago  papers  agitated  the 
plan  of  giving  Verdi  the  commission  to  write  an  opera,  "Columbus "  for 
the  Chicago  World's  Fair,  which  plan,  if  consummated,  would  undoubt- 
edly result  in  a  worthy  counterpart  of  Wagner's  $5,000  Centennial 
March  of  Philadelphia  World's  Fair  fame,  or  rather,  notoriety. 

As  to  the  ways  and  methods  to  be  employed  for  a  worthy  "exhibition" 
of  Musical  Art  of  the  United  States  at  the  coming  Chicago  Fair,  I 
would  submit  a  few  pertinent  suggestions: 

(a.)  Let  a  Committee  of  Chicago  Musicians  be  appointed,  whose  duty 
shall  consist  in  conferring  with  the  proper  authorities  for  the  pur- 
pose of  securing  suitable  halls  and  the  necessary  funds  for  carrying 
out  the  plans  enumerated  below. 

(b.)  These  preliminaries  being  attended  to,  let  the  Chicago  Auditorium 
be  reserved  for  a  first- class  opera  company  whose  office  it  shall  be  to 
give  us  worthy  representations  of  classical  and  modern  operas  in  the 
vernacular.  The  advisability  of  such  a  proceeding  is  beyond  all 
doubt,  for  everybody  is  clamoring  for  grand  opera  in  English,  and  as 
to  the  practicability  and  feasibility  of  the  proposed  plan  I  only  need 
to  remind  you  of  the  comparative  great  artistic  results  of  Mrs.  Thur- 
ber's  poorly  managed  American  Opera  Company,  premature  as  the 
project  then  certainly  was  in  many  repeets.  As  it  is,  such  great 
American  singers  as  Miss  Sybil  Sanderson,  Miss  Fames,  Miss  de- 
Lussan,  Miss  Russell  and  a  host  of  others  are  delighting  the 
fastidious  European  audiences  with  their  fine  talent,  while  Americans 
pay  fabulous  prices  to  hear  Italian  or  German  opera,  neither  of 
which  they  understand.    The  immediate  result  of  the  consumnation 


secretary's  report. 


213 


of  this  project  would  be  that  the  Metropolian  Opera  Company  of 
New  York  would  fall  in  line,  which  in  turn  would  bury  all  operatic 
performances  in  foreign  tongues  forever  and  ever,  amen. 
Indeed,  a  worthy  object  for  the  Music  Teachers'  National  Association 
to  attain,  and  well  worth  the  most  arduous  work  of  three  years!  The 
time  certainly  is  most  opportune,  and  if  a  change  is  not  effected  now, 
i.  e.^in  connection  with  the  World's  Fair,  we  may  never  get  rid  of 
the  present  sad  state  of  affairs  operatic, 
(c.)  Let  the  Music  Teachers'  National  Association  invite  the  orchestras 
of  the  whole  world  to  give  special  concerts,  the  program  of  which  to 
consist  chiefly  of  works  b.y  the  composers  of  the  respective  countries, 
also  invite  the  military  bands  of  the  world  to  a  Grand  Competitive 
Tournament. 

(d.)  Let  the  Music  Teachers'  National  Association  invite  each  State 
Association  to  give  a  grand  concert  with  home  talent  exclusively,  at 
each  of  the  concerts  let  the  programs  contain  at  least  one  composi- 
tion for  chorus  and  orchestra  by  a  resident  of  the  respective  Estate, 
and  as  many  minor  works  of  its  composers  as  expedient. 

(e.)  On  Fourth  of  July,  '93,  let  a  Grand  Public  School  Concert  be  given, 
in  open-air,  the  program  of  which  to  consist  exclusively^  of  National 
and  Patriotic  airs.  Let  each  state  be  invited  to  send  a  delegation  of 
its  best  school  choruses  to  this  concert.  The  number  of  participants 
being  limited  to  5,000. 

Thus  far  I  have  mentioned  some  measures  which  would  affect  the 
whole  physiognomy  of  the  World's  Fair  as  such  in  a  most  pronounced 
manner,  but  which  eventually  would  demand  the  imitative  and  moral 
influence  of  the  Music  Teachers' National  Association  only.  I  have 
one  more  plan,  however,  which,  if  carried  out,  will  be  the  character- 
istic feature  of  the  proposed  convention  in  '93. 
(f.)  Let  the  Music  Teachers'  National  Association  offer  a  prize  for  the 
best  Cantata  treating  the  historical  development  of  the  United  States 
from  the  discovery  of  America  by  Columbus  down  to  the  present 
day,  with  special  reference  to  the  Liberty  Wars,  the 
Declaration  of  Independence,  the  Abolition  of  Slavery,  and 
lastly,  the  freedom  and  prosperity  which  fugitives  from 
all  parts  of  the  globe  are  enjoying  under  the  protecting  folds  of  the 
Stars  and  Stripes.  Every  episode  could  be  appropriately  and  beauti- 
fully illustrated  by  a  tableau,  as  for  instance:  the  landing  of  Columbus, 
the  landing  of  the  Puritans,  the  English  surrender  at  Yorktown,  the 
signing  of  the  Declaration  of  Independence,  Lincoln,  surrounded  by 
his  generals  and  secretaries,  taking  the  shackles  off  the  enslaved 
negro,  and  lastly,  Columbia,  with  tyranny  and  anarchy  prostrate  at 
her  feet,  stretching  her  protecting  arms  over  her  children,  native  and 
adopted,  who  in  turn  would  sing  in  exstatic  accents  Hail  Columbia, 
in  which  the  whole  audience  could  join.  Let  this  best  Cantata  be 
set  to  music  by  such  composers  only  who  are  citizens  of  the  United 
States,  the  best  setting  to  be  selected  according  to  the  usages 


214 


MUSIC  teachers'  national  association. 


hitherto  adopted  by  the  Music  Teachers'  National  Association. 
Let  this  Cantata  (which  is  to  fill  one-half  of  an  evening's  program) 
be  performed  at  each  of  the  Grand  Choral  and  Orchestral  Concerts 
during  the  convention,  (and  as  many  times  thereafter  as  it  may  prove 
an  attracting  power),  let  a  chorus  of  1000-2000  voices  be  gathered 
from  out  the  best  singing  societies  of  the  whole  country,  which,  as 
you  may  readily  see,  would  insure  a  performance  of  this  proposed 
work,  such  as  never  would  have  had  its  equal. 
From  a  musical' point  of  view,  this  Cantata  could  contain  extremely 
interesting  features,  such  as   a  World' s-Fair    Triumphal  March 
Spanish  melodies  in  connection  with  the  Columbus  episode,  Creole 
and  Negro  airs,  national  and  patriotic  songs,  besides  characteristic 
elements  of  German,  Scotch  and  Scandinavian  music  as  suggestive  of 
the  bands  of  hardy  emigrants  from  those  countries. 
I  need  not  add  that  every  one  of  the  concerts  proposed  above,  would 
command  the  widest  attention  of  the  visitors  to  the  Fair,  and  that 
besides  enhancing  the  grandeur  thereof  to  no  mean  extent,  they  would 
prove  extremely  beneficial  to  the  World's- Fair  Fund. 
Trusting  that  these  suggestions  may  prove  of  sufficient  interest  to 
command  the  earnest  attention  of  your  worthy  body,  and  that  thereby 
American  Music  may  find  a  worthy  representation  in  Chicago  through 
the  iniative  of  the  National  Music  Teachers'  Association. 

I  subscribe 

With  fraternal  greeting, 

F.  X.  Arens. 


INTERNATIONAL  CORRESPONDENCE. 

General  Secretary's  Office  of 
The  National  Society  of  Professional  Musicians, 
Derby,  England,  June  17,  1890. 

Dear  Mr.  Perkins,  Secretary  Music  Ttachers'  National  Association: 

I  duly  received  your  kind  letter,  and  purposely  delayed  writing  to 
you,  so  that  you  might  receive  a  message  from  me  on  the  eve  of  your 
great  meeting  at  Detroit,  which  message  I  will  beg  you  to  deliver  on  my 
behalf  to  all  the  friends  who  were  so  kind  to  me  at  Philadelphia  last 
year.  Will  you  kindly  give  my  warmest  regards  and  kind  remembrances 
to  them  all,  and  tell  them  that  I  shall  always  cherish  the  recollection  of 
my  visit  to  Philadelphia,  and  of  the  kindness  and  hospitality  with  which 
I  was  welcomed  by  the  members  of  your  Association. 

Nothing  will  give  me  greater  pleasure  than  to  have  an  opportunity 
of  meeting  some  of  you  here,  and  of  renewing  in  England  the  friendships 
formed  in  America. 

I  wish  you  all  a  "  good  time,"  and  a  triumphant  success  at  Detroit. 
Believe  me,  my  Dear  Mr.  Perkins, 

Yours,  sincerely,   Edward  Chadfield. 


CONSTITUTION  AND  BY-LAWS. 


CONSTITUTION. 


ARTICLE  I. 

NAME. 

This  organization  shall  be  known  as  the  Music  Teachers'  National 
Association,  the  American  Society  for  the  Promotion  of  Musical  Art. 

ARTICLE  II. 

OBJECT. 

Promotion  of  the  true  culture  of  music  by  interchange  of  ideas, 
,  advancement  of  the  interests  of  the  musical  profession,  and  the  further- 
ance of  professional  fraternity  among  music  teachers  and  musicians. 

,  ARTICLE  III. 

OFFICERS. 

The  officers  of  the  Association  shall  consist  of  a  President,  a  Vice- 
President  for  each  State,  Territory  and  Canadian  Province  represented;  a 
Secretary,  a  Treasurer,  an  Auditing  Committee,  a  Program  Committee, 
an  Executive  Committee,  and  a  Board  of  Examiners  of  American  Com- 
positions. 

ARTICLE  IV. 

MEMBERS. 

Section  1.  The  membership  of  the  Association  shall  consist  of  Act 
ive.  Life,  Patrons  and  Associate  members. 

A. 

ACTIVE  MEMBERS. 

Section  1.  Active  members  shall  consist  of  professional  musicians 
and  musical  journalists. 

Sec.  2.  The  Active  membership  fee  of  two  dollars  shall  be  paid 
every  year  by  all  Active  members  of  the  Association,  and  every  person 
failing  to  pay  dues  annually  forfeits  his  or  her  membership,  and  is  sub- 
ject to  the  provisions  applicable  to  new  Active  members.  New  Active 
members  shall  pay  in  addition  to  the  annual  dues  a  registration  fee  of 
one  dollar. 


216 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


Sec.  3.    Active  members  have  all  the  privileges  of  the  Association  • 
including  lectures,  recitals,  concerts,  participation  in  debates  and  the 
right  to  vote , 

B. 

LIFE  MEMBERS. 

Section  1.  Any  musician  or  music  journalist  may  become  a  Life 
member  subject  to  the  approval  of  the  Executive  Committee,  on  payment 
of  |25  in  advance. 

Sec.  3.  A  suitable  certificate,  signed  by  the  President  and  Secretary* 
shall  be  issued  to  Life  members. 

Sec.  3.  The  Life  membership  fees  shall  constitute  a  permanent 
fund,  to  be  loaned  by  the  Treasurer  on  security  approved  by  the  Execu- 
tive Committee.  The  interest  only  shall  be  used  for  the  annual  expenses 
of  the  Association. 

C. 

PATKONS. 

Any  person  may  become  a  Patron  of  the  Association  and  have  his  or 
her  name  recorded  among  the  list  of  "Patrons"  in  the  records  of  the 
year,  by  paying  a  complimentary  subscription  of  at  least  $10,  which  sum  • 
shall  be  reckoned  and  appropriated  as  part  of  the  current  receipts  of  that 
year. 

D. 

ASSOCIATE  MEMBERS. 

Section  1.  Associate  members  shall  consist  ®f  all  other  reputable 
persons  wishing  to  sustain  the  cause  of  music  and  to  encourage  the 
objects  of  the  Association. 

Sec.  2.  The  fee  for  Associate  membership,  special  Patrons,  admis- 
sions to  single  sessions  and  concerts,  shall  be  left  to  the  discretion  of  the 
Executive  Committee. 

DUTIES  OF  OFFICERS. 
ARTICLE  V. 

DUTIES  OF  THE  PRESIDENT. 

Section  1.  It  shall  be  the  duty  of  the  President  to  guard  the  inter- 
ests of  the  Association  in  all  its  departments,  to  examine  and  remedy  as 
far  as  possible  all  complaints  against  oflacers;  to  decide  all  controversies 
within  and  between  committees,  as  well  as  between  individual  officers; 
to  cast  the  deciding  vote  in  case  of  a  tie  in  the  joint  vote  of  Program  and 
Executive  Committee;  to  preside  at  all  meetings  of  the  Association  and 
direct  its  general  business  according  to  Roberts'  Manual  of  Parliamentary 
Law,  and  to  appoint  committees  not  otherwise  provided  for.  Vice-Presi- 
dents shall  be  appointed  by  the  President,  with  the  approval  of  the 


CONSTITUTION. 


217 


Executive  Committee,  to  serve  for  the  term  of  one  year,  subject  to 
removal  for  cause  by  unanimous  vote  of  the  Executive  Committee. 
It  shall  be  his  special  duty  to  advise  Vice-Presidents  in  the 
discharge  of  their  duties;  to  preserve  the  pleasant  relations  between  the 
M.  T.  N.  A.  and  State  Associations, and  to  endeavor  to  maintain  and  in- 
crease the  numerical  strength  of  the  membership  in  the  different  States. 
In  the  event  of  a  vacancy  occuring  in  the  Program  or  Executive 
Committees  it  shall  be  the  duty  of  the  President,  acting  with  such  com- 
mittee, to  fill  such  vacancy. 

ARTICLE  VI. 

DUTIES  OF  THE  SECRETARY. 

Section  1.  It  shall  be  the  duty  of  the  Secretary  to  perform  the  usual 
duties  of  a  Corresponding  and  Recording  Secretary,  to  collect  the  annual 
dues  and  deliver  them  over  to  the  Treasurer,  together  with  the  name  and 
address  of  those  having  paid,  taking  the  receipt  of  said  Treasurer  there- 
for; to  collect  all  the  essays  read  at  the  annual  meeting;  to  issue  and  mail 
reports  and  circulars;  to  preserve  copies  of  all  important  letters,  and  keep 
on  file  all  letters  received.  The  Secretary's  books  shall  be  so  kept  that 
bills  and  vouchers  may  be  arranged  and  preserved.  He  shall  be  obliged 
to  settle  up  the  affairs  of  the  Association  as  early  as  January  1  following 
the  meeting  of  the  Association  (if  the  same  occurs  in  the  summer),  to 
hand  over  to  his  successor  all  property  scheduled,  and  shall  make  an 
annual  report. 

Sec.  2.  In  matters  relating  to  the  Board  of  Examiners  the  Secretary 
shall  retain  the  envelopes  of  competitors,  and  after  all  the  markings  of 
the  Board  of  Examiners  are  received,  shall  immediately  compute  the 
averages,  send  to  the  alternate  those  compositions  of  any  one  class 
between  which  there  is  a  tie  and  those  which  have  only  two  markings. 
Upon  the  receipt  of  such  compositions  with  their  markings  from  the 
alternate,  he  shall  compute  the  average  on  these  and  immediately  send  to 
the  Chairman  of  the  Program  Committee  a  list  of  all  the  compositions 
which  average  seven  or  more,  with  the  computed  average,  the  time 
required  for  performance,  and  the  fictitious  name  and  motto  of  each. 
Upon  receiving  the  selected  list  from  the  Chairman  of  the  Program 
Committee,  he  shall  open  the  envelopes  of  successful  competitors,  inform 
such  competitors  of  the  acceptance  of  their  works,  and  send  all  the 
successful  compositions  with  the  composers  name  and  address,  to  the 
Chairman  of  the  Program  Committee.  He  shall  return  all  unsuccess- 
ful compositions  with  the  corresponding  envelopes  unopened  to  the 
return  address  given  on  the  envelope;  and  with  all  compositions  that 
have  an  average  of  seven  or  more,  shall  send  the  computed  average. 

Sec.  3.  The  Secretary  shall  *be  the  custodian  of  all  property  belong- 
ing to  the  Association,  and  shall  file  an  acceptable  bond  within  thirty 
days  after  his  election,  the  amount  to  be  fixed  by  the  Executive  Com- 
mittee. 


218 


MUSIC  teachers'  national  association. 


Sec.  4.  That  the  Secretary  shall  publish  in  connection  with  the 
Official  Report,  the  Constitution  and  By-laws,  and,  also,  the  substance  of 
all  resolutions  and  measures  whensoever  adopted,  which  have  been  made 
the  permanent  rule  for  the  work  of  the  Association.  He  shall  also  send 
a  copy  of  the  official  report  to  the  chief  public  libraries  of  the  largest 
principle  cities  of  the  United  States. 

ARTICLE  VII. 
duties  of  the  treasurer. 

Section  1.  The  Treasurer  shall  receive  all  moneys  from  the  Secretary, 
giving  his  receipt  for  the  same,  and  disbursing  only  upon  orders  properly 
signed  by  the  Executive  Committee.  The  Treasurer  shall  pay  drafts 
given  by  the  President  or  Secretary  for  curient  expenses  of  their  respec- 
tive offices  only,  each  draft  to  contain  reference  to  a  corresponding 
Toucher,  showing  the  nature  of  the  transaction  covered  by  it.  Aside 
from  these,  he  shall  disburse  only  upon  the  presentation  of  drafts  from 
the  Executive  Committee,  as  hereinafter  provided.  He  shall  so  keep  his 
books  that  bills  and  vouchers  may  be  arranged  and  preserved,  and  shall 
prepare  a  report  for  the  fiscal  year,  and  shall  have  the  same  printed  in 
the  official  report.  He  shall  settle  up  the  affairs  of  the  Association  as 
early  as  January  1,  following  the  last  meeting  of  the  Association  (if  the 
same  occurs  in  the  summer),  and  shall  hand  over  to  his  successor  all 
property  scheduled,  including  books,  bills,  vouchers  and  money  for  the 
current  year,  which  he  may  have  in  his  possession. 

Sec.  2.  The  Treasurer  shall  file  an  acceptable  bond  within  thirty 
days  after  his  election.  The  amount  to  be  fixed  by  the  Executive 
Committee. 

ARTICLE  VIII. 

duties  of  the  auditing  committee. 

Section  1.  It  shall  be  the  duty  of  the  Auditing  Committee  as  soon  aft«r 
their  election  as  the  books  have  been  closed,  to  carefully  examine  the 
accounts  of  the  Treasurer,  Secretary  and  Executive  Committee  of  the 
previous  year,  comparing  books  and  accounts  with  the  vouchers  rep- 
resenting the  various  transactions  to  whatever  extent  may  be  necessary, 
to  make  sure  that  the  financial  affairs  of  the  Association  are  properly 
managed. 

ARTICLE  IX. 

DUTIES  OF  THE  PROGRAM  COMMITTEE. 

Section  1.  The  Program  Committee  shall  consist  of  three  members 
elected  by  the  Association.  It  shall  be  their  duty  to  invite  essayists, 
suggest  topics,  arrange  recitals,  and  have  entire  charge  of  the  pro- 
gram for  the  annual  meeting. 

Sec  2.  The  Program  Committee  shall  have  a  joint  vote  with  the 
Executive  Committee  on  all  appropriations  of  money  made  to  carry  ou* 


CONSTITUTION.  219 

the  plans  of  the  Program  Committee.  The  President  of  the  Associa- 
tion shall  be  an  advisory  member  of  this  committee,  but  without  power 
to  vote,  except  in  the  case  of  a  tie  in  the  joint  votes,  when  he  shall  cast 
the  deciding  vote. 

Sec.  3.  A.  The  Program  Committee  shall,  through  an  authorized 
medium,  announce,  before  October  1,  what  American  works  will  be 
required,  of  what  classes,  and  how  many  of  each  class.  B.  The  Pro- 
gram Committee,  upon  receiving  from  the  Secretary  the  list  of  eligible 
works  with  their  markings,  shall  decide  upon  the  compositions,  to  be  per- 
formed in  the  following  manner:  Those  of  each  class  having  the  highest 
averages  shall  be  selected  for  performance,  except  that  not  more  than 
two  compositions  (and  these  only  of  different  classes)  shall  be  selected, 
bearing  the  same  name  and  motto,  and  no  composer  shall  be  represented 
twice  to  the  exclusion  of  another  who  has  an  eligible  composition.  C. 
If  in  any  year  a  class  has  no  eligible  work,  the  Program  Committee 
may  select  a  composition  of  another  class  that  is  eligible,  or  one  of  the 
same  class  that  has  been  successful  through  competition  in  a  previous 
year,  according  as  the  interests  of  the  program  require;  in  no  other 
case  shall  a  composition  once  successful  through  competition  be  repeated, 
and  the  Program  Committee  shall  make  up  the  programs  from  the 
compositions  thus  accepted  by  the  Board  of  Examiners,  supplementing 
them  as  they  may  deem  advisable  from  selections  from  other  sources. 
D.  The  Chairman  of  the  Program  Committee  shall  send  the  list  of 
compositions  selected  to  the  Secretary  before  the  first  of  February. 

ARTICLE  X. 

DUTIES  OF  THE  EXECUTIVE  COMMITTEE. 

Section  1.  The  Executive  Committee  shall  consist  of  three  mem- 
bers elected  by  the  Association,  with  the  President  as  advisory  member, 
but  without  power  to  vote.  The  committee  shall  take  entire  charge  of 
all  the  business  interests  relating  to  the  annual  meetings  and  the  musical 
performances  in  connection  therewith.  They  shall  carefully  estimate 
the  amount  of  money  needed  for  properly  carrying  out  the  plans  of  the 
Program  Committee,  and  if  the  current  receipts  are  not  likely  to  be  suf- 
ficient, they  shall  adopt  any  means  available  for  making  up  the  defi- 
ciency. They  shall  make  contracts  with  artists,  performers  and  musi- 
cians, with  the  consent  of  the  Program  Committee,  approve  the  appoint- 
ment of  local  assistants,  provide  all  necessary  halls  and  rooms  for  con- 
certs and  meetings,  and  administer  the  business  from  the  beginning  to- 
the  end  according  to  their  best  judgment  of  the  needs  and  interests  of 
the  Association.  They  shall  keep  strict  account  of  all  disbursements, 
preserve  vouchers,  and  make  a  summarized  report  of  the  expenses  attend- 
ing the  meeting.  All  expenses  ordered  by  them  shall  be  paid  by  means 
of  checks  upon  the  Treasurer,  each  check  containing  the  number  of  the 
voucher  showing  the  purpose  of  the  expenditure,  and  each  check  shall 


220 


MUSIC  teachers'  national  association. 


be  signed  by  the  Chairman  and  countersigned  by  the  Secretary  of  the 
committee.  Their  books  shall  be  fully  closed  as  early  as  the  first  of  Sep- 
tember following  the  annual  meeting,  but  their  responsibility  shall  not 
be  terminated  until  their  accounts  and  vouchers  have  been  duly  passed 
upon  and  approved  by  the  Auditing  Committee. 

ARTICLE  XI. 

DUTIES  OF  THE  BOARD  OF  EXAMINERS. 

Section  1.  The'Board  of  Examiners  shall  consist  of  three  competent 
musicians,  with  a  fourth  to  act  as  an  alternate  member  of  the  M.  T.  N. 
A.,  whose  duty  it  shall  be  to  examine  all  American  compositions  to  be 
performed  before  this  organization;  all  the  members  of  the  Board  to  be 
voted  for  on  one  ballot,  and  the  election  of  the  Board,  as  well  as  their 
relative  positions,  to  be  decided  by  a  plurality  of  votes. 

Sec  2.  Each  member  of  the  Board  of  Examiners  shall  independ- 
ently mark  all  compositions  according  to  absolute  merit  on  a  scale  of 
ten,  except  as  provided  for  in  Section  4  of  this  Article. 

Sec  3.  The  Chairman  of  the  Board,  upon  the  receipt  of  a  composi- 
tion conforming  to  the  provisions  of  Section  12  of  the  By-Laws,  shall 
examine  it  as  soon  as  possible  and  send  it  to  the  second  member  of  the 
Board,  the  second  member  in  like  manner  to  the  third,  and  the  third  to 
the  Secretary  of  the  Association.  The  Chairman,  second  and  third  mem- 
bers shall  respectively  retain  no  composition  longer  than  the  first,  second 
and  third  weeks  of  March,  and  upon  the  completion  of  their  examination 
shall  send  their  markings  to  the  Secretary. 

Sec  4.  No  member  of  the  Board  shall  mark  his  own  compositions, 
but  they  shall  be  referred  to  the  alternate,  who,  upon  the  receipt  of  such 
composition  from  the  Secretary,  as  well  as  those  of  any  one  class  between 
which  there  is  a  tie,  shall  examine  and  return  them  to  the  Secretary  with 
his  markings  as  soon  as  possible. 

ARTICLE  XII. 
duties  of  yice-presidents. 

Section  1.  To  preside  when  called  upon  by  the  President,  or  in  the 
absence  of  said  official;  the  Vice-President  of  the  State  in  which  the 
meeting  is  held  shall  have  precedence. 

Sec.  2.  To  secure  by  personal  correspondence  and  invitation  the 
attendance  of  representative  musicians  of  his  State  to  the  annual  meeting 
of  the  M.  T.  N.  A.,  to  secure  members  and  remit  the  dues  to  the  Sec- 
retary. 

Sec.  3.  To  organize,  or  at  least  earnestly  endeavor  to  organize,  a 
State  Association,  if  his  State  is  without  one,  in  which  case  he  may  call 
upon  the  members  of  the  M.  T.  N.  A.  that  reside  in  his  State  for  assist- 
ance. 


CONSTITUTION. 


221 


Sec.  4.  To  see  that  the  constitution  of  the  State  Association  shall 
be  in  harmony  with  the  constitution  of  the  M.  T.  N.  A.  in  all  matters 
which  relate  to  the  establishment  of  an  organic  union. 

Sec  5.  To  see  that  the  national  meeting  be  advertised  annually  in 
the  State  report. 

Sec.  6.  To  present  at  the  opening  session  of  the  annual  meeting  a 
report  in  writing.  A  failure  to  do  so  shall  render  him  ineligible  for  re- 
election. At  this  opening  session  shall  also  be  decided  where  and  when 
the  Vice  Presidents  shall  meet  as  a  board  or  committee  during  the  annual 
meeting  of  the  M.  T.  N.  A. 

Sec.  7.  Any  Vice-President,  unable  to  attend  the  annual  meeting, 
shall  suggest  to  the  President  a  duly  accredited  member  of  the  National 
Association  residing  in  his  State,  to  act  as  substitute.  In  case  any  Vice- 
President  fails  to  suggest  a  substitute,  the  President  shall  exercise  his 
powers  to  appoint. 

Sec.  8.  The  Board  of  Vice-Presidents  shall  meet  on  the  first  day  of 
each  annual  meeting  of  the  M.  T.  N.  A.,  and  organize  for  the  transac- 
tion of  such  business  as  may  come  before  them,  by  the  appointment  of  a 
chairman  and  secretary,  who  shall  hold  their  respective  offices  during  the 
session  of  the  M.  T.  N.  A.  The  Secretary  shall  present  a  written  report 
of  the  transactions  of  the  Board  of  Vice-Presidents,  according  to  the 
provisions  elsewhere  made,  and  shall  furnish  to  the  Secretary  of  the  M. 
T.  N.  A.  a  copy  for  publication  in  the  annual  report. 

ARTICLE  XIII. 

NOMINATIONS. 

Section  1.  The  Board  of  Vice-Presidents  shall  constitute  a  commit- 
tee for  the  nomination  of  officers,  Vice-Presidents  excepted,  at  the  annual 
meeting  of  the  M.  T.  N.  A.,  and  in  special  committee,  inclusive  of  one 
that  shall  consider  the  recommendations  contained  in  the  annual- 
addresses  of  the  President,  Secretary  and  other  officials,  and  shall  sug- 
gest a  place  for  holding  the  next  annual  meeting. 

Sec.  2.  At  the  business  sessions  of  the  Vice-Presidents,  of  which 
sessions  at  least  four  hours'  notice  shall  be  given  on  the  bulletin  board, 
the  Vice-Presidents  present  shall  constitute  a  quorum. 

Sec.  3.  The  Board  of  Vice  Presidents  shall  have  the  right  by  a  two- 
thirds  vote  to  exclude  any  or  all  other  persons  from  their  business 
sessions. 

Sec  4.  Vice-Presidents  for  States  having  no  associations  shall  be 
selected  as  follows:  The  President-elect  of  the  M.  T.  N.  A.  shall,  subse- 
quent to  the  annual  meeting,  ascertain  by  correspondence  or  otherwise, 
what  residents  of  each  State,  members  of  the  M.  T.  N.  A„  are  best  quali- 
fied for  said  position.  The  President  shall,  if  possible,  submit  the  names 
of  two  candidates  for  each  position  to  the  Executive  Committee,  a  major- 
ity vote  of  said  committee  being  sufficient  for  elecion. 


223 


MUSIC  teachers'  national  association. 


Sec.  5.  Nominations  of  all  officers  to  be  selected  by  the  Association 
shall  be  announced  sixteen  hours  before  the  election  of  officers  and  exhib- 
ited upon  a  bulletin  board  in  the  vestibule  of  place  of  meeting. 

ARTICLE  XIV. 
elections. 

Section  1.  The  election  of  officers  shall  be  annually,  and  by  ballot  or 
by  such  other  method  as  the  Association  may  direct  at  the  annual  meet- 
ing. The  officers  so  elected  shall  hold  their  office  until  their  successors 
are  elected  and  have  qualified.  The  officers  elect  shall,  after  their  quali- 
fication, immediatel}'-  assume  control  of  the  business  affairs  of  the  Asso- 
ciation pertaining  to  the  next  annual  meeting.  The  retiring  officers  shall 
complete  all  business  pertaining  to  their  term  of  office,  and  make  a  full 
report  to  the  officers  elect. 

ARTICLE  XV. 
vacancies. 

Section  1.  In  case  of  a  vacancy  in  the  office  of  President,  the  Exec- 
utive Oommittee  shall  fill  the  vacancy. 

Sec  2.  In  case  of  a  vacancy  in  any  office  other  than  that  of  the 
President,  the  President  shall  nominate  two  candidates,  and  the  Execu- 
tive Committee  shall  select  one  to  fill  the  vacancy,  except  as  provided 
for  in  the  last  part  of  Article  V. 

ARTICLE  XVI. 

The  constitution  may  be  amended  by  a  two-thirds  vote  of  the  mem- 
bers present  at  any  regular  meeting.  Notice  of  such  intended  amend- 
ment shall  be  given  in  writing;  and  shall  be  posted  on  the  bulletin  board 
at  least  twenty-four  hours  previous  to  the  annual  business  meeting. 


BY-LAWS. 


1.  The  list  of  patrons,  life  and  active  members,  shall  be  published 
separately,  according  to  States,  in  the  annual  report. 

2.  The  annual  dues  shall  be  $3,  payajjle  at  or  before  the  annual 
meeting  for  the  ensuing  year. 

3.  Active  members  shall  receive  an  annual  report  gratis.  A  number 
of  reports  shall  be  distributed  gratis  to  prominent  musicians  through  the 
Vice-Presidents.  The  number  of  reports  shall  be  fixed  by  the  Secretary  in 
proportion  to  the  membership  and  musical  importance  of  each  State.  In 
their  annual  report,  the  Vice-Presidents  shall  report  the  names  of  those 
musicians  to  whom  the  annual  report  of  the  Association  have  been  sent. 


BY-LAWS. 


233 


4.  The  Secretary  and  Treasurer  shall  each  file  a  bond,  the  amount  of 
which  shall  be  fixed  annually  by  the  Executive  Committee,  previous  to 
the  election  of  said  Secretary  and  Treasurer. 

5.  No  oflBcers,  the  Secretary  and  Treasurer  excepted,  shall  hold  the 
same  office  longer  than  two  consecutive  years,  except  by  special  recom- 
mendation of  the  Committee  on  Nominations. 

6.  The  same  person  shall  not  be  selected  as  essayists  or  recitalists 
for  two  consecutive  annual  meetings,  except  by  unanimous  vote  of  the 
Program  Committee  and  the  approval  of  the  President. 

7.  The  pianos  used  during  the  annual  meeting  must  conform  to 
French  pitch,  said  pitch  being  A-435,  or  stand  excluded  from  the  meet- 
ings of  the  Association. 

8.  The  Chairman  of  the  Program  Committee  shall  appoint  annually 
a  librarian  to  take  charge  of  all  manuscripts  and  scores  of  compositions 
to  be  rehearsed  and  performed  during  the  annual  meeting,  and  said 
librarian  shall  be  paid  for  so  doing,  a  sum  appproved  by  the  Executive 
Committee. 

9.  No  piano  shall  be  advertised  on  the  cover  or  outside  pages  of  the 
general  program.  The  exclusive  right  shall  not  be  given  to  advertise 
any  piano,  or  other  musical  instrument  or  publication,  to  the  exclusion  of 
other  pianos,  instruments  or  publications,  in  or  on  any  official  report,  cir- 
cular or  program  published  by  or  authorized  to  be  published  by  the 
Association.  No  additional  sign  or  name  shall  be  placed  on  any  piano, 
or  any  other  instrument,  used  for  any  recital  or  concert  within  the 
rooms  used  by  the  Association  at  the  annual  meetings,  but  a  list  of  all 
the  pianos  or  instruments  to  be  used  at  the  recitals  and  concerts,  to- 
gether with  the  names  of  the  artists  who  are  to  use  said  instruments, 
may  be  printed  in  small  letters  at  the  bottom  of  each  recital  or  concert 
program. 

10.  No  official  shall,  unless  authorized  by  the  constitution,  contract 
debts  save  with  the  consent  of  the  executive  committee. 

11.  An  adequate,  but  limited  sum  of  money  fixed  by  the  Executive 
Committee,  upon  the  recommendation  of  the  President,  maybe  expended 
by  Vice-Presidents  in  the  discharge  of  their  duties. 

12.  A.  American  composers  who  desire  to  compete  for  the  honor  of 
having  their  compositions  performed  before  the  Association,  shall  send 
their  compositions  to  the  chairman  of  the  Board  of  Examiners,  and  at  the 
same  time  a  sealed  envelope  to  the  Secretary  bearing  a  fictitious  name 
and  motto  and  return  address,  and  containing  the  composers  real  name. 
Compositions  may  be  sent  at  any  time,  but  must  be  in  the  hands  of  the 
chairman  of  the  board  before  Feb.  15.  B.  Competitors  shall  prepare 
their  compositions  for  examinations  as  follows:  The  composers  name, 
and  in  the  case  of  a  published  work,  also  the  publisher's  name,  and  all 
marks  or  advertisements  of  publishers  cut  out,  or  made  illegible.  Each 
composition  shall  bear  the  time  required  for  performance,  and  a 
fictitious  name  and  motto,  corresponding  to  the  fictitious  name  and 
motto  on  the  sealed  envelope  sent  to  the  Secretary.    C.    If  any 


224 


MUSIC  TEACHEKS'  NATIONAL  ASSOCIATION. 


competitor  shall  in  any  way  intentionally  disclose  his  identity  to  any 
member  of  the  Board  of  Examiners,  he  shall 'have  no  representation 
that  year.  D.  Competitors  can  compete  in  all  classes  called  for,  but 
must  use  the  same  fictitious  name  and  motto  in  all  classes.  E.  Com- 
petition shall  be  open  to  all  resident  musicians  who  are  members  of  the 
Music  Teachers'  National  Association. 

13.  No  person,  whether  a  member  of  the  Association  or  not,  shall  be 
allowed  to  advertise  in  any  manner  within  the  rooms  used  by  the  Associa- 
tion any  publication,  composition,  or  invention  of  any  sort,  whether  by 
free  distribution,  circulars  or  orally. 

14.  The  Executive  Committee  shall  provide  a  suitable  room  or  place 
for  the  exhibition  of  inventions  and  devices  intended  for  the  benefit  of 
the  music  teaching  profession,  each  exhibitor  to  pay  such  a  sum  for  the 
required  space  as  may  be  fixed  by  the  Executive  Committee.  In  this 
room  may  also  be  exhibited,  with  the  permission  of  the  chairman  of  the 
Executive  Committee,  free  of  charge,  musical  journals,  and  especially 
compositions  and  music  books  published  during  the  three  years  preceding 
the  annual  meeting  and  emanating  from  composers  and  authors  who  are 
members  of  the  Music  Teachers'  National  Association. 

15.  No  teacher  shall  introduce  his  or  her  pupils  to  play  or  sing 
before  the  Association  unless  by  unanimous  invitation  of  the  Program 
Committee. 

16.  The  time  for  reading  a  paper  shall  be  limited  to  thirty  minutes, 
and  each  participant  in  the  discussion  shall  be  allowed  to  speak  for  five 
minutes,  with  the  privilege  of  again  taking  the  floor  for  no  longer  than 
five  minutes,  unless  ordered  by  a  unanimous  vote  of  the  members  present. 

17.  General  discussion  shall  be  limited  as  regards  time,  by  the  vote 
of  the  Association. 

18.  The  annual  meetings  shall  be  held  on  the  first  Tuesday,  Wednes- 
day, Thursday  and  Friday  of  July,  or  such  other  time  as  the  Executive 
Committee  may  designate. 

19.  The  constitution  and  by-laws  shall  be  printed  in  each  annual 
report,  and  the  prospectus  and  program  of  the  annual  meeting  shall  be 
mailed  at  least  one  month  previous  to  the  annual  meeting. 

20.  The  Association  shall  not  meet  two  consecutive  years  in  the  same 
place. 

21.  Fifty-one  active  members  shall  constitute  a  quorum. 

22.  The  by-laws  may  be  suspended  or  amended  at  any  regular  meet- 
ing by  a  majority  vote  of  active  members  present. 


PROGRAM. 


Closing  Concerts,  Friday,  July  4. 

2.00  p.  M.— Detroit  Rink. 


ORCHESTRAL  MATINEE. 


miscellaneous  compositions. 

Theodore  Thomas,  -        -        -  Conductor. 

Pianist—  Constantin  Sternberg,  -  Atlanta,'  Ga. 
Vocalist— Miss  Anne  Carpenter,    -     -    New  York. 

PROGRAM, 

1.  Fugue  in  A  minor,         .         .         .         .  Bach. 

Adapted  for  String  Orcliestra  by  Josef  Helmesbekger. 

2.  Symphony  No.  5— C  minor,  Op.  67,         -  Beethoven. 

Allegro  con  brio.   Andante  con  moto.    Allegro— Finale. 

3.  Concerto  in  A  minor,  Op.  54,       -         -  Schumann. 

Allegro  afEettuoso.   Intermezzo  (Andantino  grazioso). 
Finale— Allegro  vivace. 

Mr.  Sternberg. 

INTERMISSION. 

4.  Concert  Overture — Melusine,        -  Mendelssohn. 

5.  Aria — "1st  es  denn  Wahr?"         -         -  EuUnstein. 

Miss  Carpenter. 

6.  Symphonic  Variations — Op.  78,      -         -  Dvorak. 

7.  Overture — "Tannhauser,"         -         -  Wagner. 

(Knabe  Piano  used). 

8.00  P.  M. 
ORCHESTRAL  AND  CHORAL  CONCERT. 


AMERICAN  COMPOSITIONS.— [The  Concerto  Excepted.) 

Theodore  Thomas,      .        .        .         .  Director. 
Pianist—      Mme.  Fannie  Bloompield  Zbisler,    Chicago,  111. 
Vr^/^ATTooia    J  Miss  Jean  Forsyth,      -        -      Detroit,  Micb. 
V  ocalists    -j  Jules  Jordan,        -        -        Providence,  R.  I. 

PROGRAM. 

1.  Auditorium  Festival  Ode — for  Tenor  Chorus  and 

Orchestra,         -         -      Frederic  Grant  Oleason. 
Soloist:  Mr.  Jordan. 

2.  Concerto  in  F  minor,         -        -         -  Ghopin. 

Maestoso.   Largbetto.  Allegro  Vivace. 
Mme.  Zeisler. 

3.  Lovely  Rosabelle— Ballad  for  Soprano,  Tenor, 

Chorus  and  Orchestra.    Poem  by  Sir  Walter 
Scott,  -         -         -  G.  W.  Ghadwick. 

Soloists:  Miss  Forsyth,  Mr.  Jordan. 

4.  Concert  Overture  in  C  major.  Op.  3,  Arthur  Whiting. 

5.  Reverie  Pastorale — for  Flute,  Oboe,  Two  Horns 

and  String  Instruments,       -         -       Garl  Busch. 
Aubade  Candante.)    Pres  dn  ruisseau  (conmoto.)   Un  soir 
d'  ete  dans  la  foret  (adagio).   Danse  ronde  (vivace) . 

6.  Symphonic  Scherzo,       -         -         -       J.  H.  Beck. 

7.  American  National  Air,    -    "Star  Spangled  Banner." 

For  Solo,  Chorus  and  Orchestra. 
(Steinway  Piano  used). 


STANDING  COMMITTEES, 
CHURCH  MUSIC. 

1889-1891      B.  M.  Bowman  Newark,  N.  J. 

8.  P.  Warren   New  York  Citj 

8.  B.Whitney  Boston,  Mass. 

1889-  1892      P.B.Rice   Oberlin,  O. 

H.  B.  Roney  Chicago,  111. 

Sumner  Salter  New  York  City 

1890-  1893      S.  N.  Penfleld  New  York  City 

Waldo  S.  Pratt  Hartford,  Conn. 

A.  A.  Stanley  Ann  Arbor,  Mich. 

TERMINOLOGY. 

1889-1891      W.  S.  B.  Mathews    Chicago,  111. 

Frederic  W.  Root  Chicago,  111. 

C.  B.  Cady  Chicago,  111. 

1889-  1893      Waldo  S.  Pratt  Hartford,  Conn. 

Chas.  W.  Landon  Claverack,  N.  Y. 

H.  C.  MacDougall  Providence,  R,  I, 

1890-  1898      Arthur  Foote  Boston,  Mass 

J.  C.  Fillmore  Milwaukee,  Wis. 

Frederic  H.  Pease  Ypsilanti,  Mich. 

NA  TIONAL  METHOD  OF  MUSICAL  INSTRUCTION 


HARMONY  SECTION. 

1889-1891      E.  M.  Bowman    Newark.  N.  J. 

1889-  1892      J.C.Fillmore   Milwaukee,  Wis. 

1890-  1898      Hugh  A.  Clarke  Philadelphia,  Pa. 

VOCAL  SECTION. 

1890-1891      George  L.  Osgood  Boston,  Mass. 

1889-  1892      Frederic  W.  Root  Chicago,  111. 

1890-  1893      Emilio  Agramonte  New  York. 

PUBLIC  SCHOOL  MUSIC  SECTION. 

1889-1891      W.  F .  Heath  Oshkosh,  Wli. 

1889-  1892      Chas.  W.  Landon  Claverack,  N.  Y. 

1890-  1893      N.  Coe  Stewart  Cleveland,  O. 

PIANO-FORTE  SECTION. 

1889-1891      W.S.B  Mathews  Chicago,  III. 

1889-  1892      Arthur  Foote  Boston,  Mass. 

1890-  1893      Emil  Liebling  Chicago,  111. 

ORGAN  SECTION. 
18^9-1891      N .  H .  Allen   Hartford,  Conn . 

1889-  1892      S .  P .  Warren  New  York  City 

1890-  1893      S .  B .  Whitney  Boston,  Mass . 

TRUSTEES  OF  ORCHESTRAL  FUND, 

1  Year  —Frederic  Grant  Gleason  Chicago,  111. 

2  Years— G.  Shirmer  New  York  City. 

3  Years— Max  Leckner  ,  Indianapolis,  Ind  . 

Cofnmttfee  on  Constitution^  By-Laws^  Organization^  Etc. 

{James  H.  Rogers   106  Euclid  ave.,  Cleveland,  O . 
William  H.  Dana  Warren,  O. 
W.  F.  Heath  Oshkosh,  Wis, 

(  O.  E.  McPadon  205  E.  17th  St.,  Minneapolis,  Minn. 

2  Years.  K  H.  B.  Roney  1833  Michigan  ave.,  Chicago,  111. 

(  A.  K.  Virgil  12  E.  17th  st..  New  York  City. 

{Albert  Ross  Parsons  Steinway  Hall,  New  York  City. 
N.  Coe  Stewart  1364  Euclid  ave.,  Cleveland,  O. 
William  WolseifEer  1726  Atlantic  st,  Philadelphia,  Pa. 


Fonnders  or  Charter  Meibers. 


Bates,  Wm.  E.,  piano,  organ  Columbus,  Ind. 

Bates,  Mrs.  Jennie  E.,  piano,  organ   " 

Brown,  J.  Addison,  piano,  organ,  voice   Xenia,  Ohio 

Cady,  C.  B.,  Oberlin  Conservatory  Oberlin,  Ohio 

Case,  C.  C,  Convention  Condiictor  Gustavus,  Ohio 

Cole,  G.  M.,  public  schools  Richmond,  Ind. 

Collins,  S.  A.,  public  schools  Sandusky,  Ohio 

Colson,  W.  B.  Jr.,  piano,  organ  Akron,  Ohio 

Chad  wick,  Geo.  W.,  Olivet  College  Olivet,  Mich. 

Christy,  J.  W.,  voice,  piano    Etna,  Ohio 

Dana,  Wm.  H.,  Dana's  Institute  Warren,  Ohio 

Dane,  M.  N.,  public  schools  Toledo,  Ohio 

Dunn,  Wm.  F.,  Zenia  College  Xenia,  Ohio 

Davis,  E.  Eugene,  voice,  piano  Prospect,  Ohio 

Davis,  J.  Albert,  teacher,  dealer   " 

Davis,  D.  T.,  public  schools  Mt.  Gilead,  Ohio 

Fftilor,  Alia,  piano,  voice  ...   Bucyrus,  Ohio 

Fillmore,  Jas.  H.,  vocal  class  teacher  

Ford,  F.  M.,  vocal  music  Morenci,  Mich, 

Free,  Spencer  M  New  Freedom,  Pa. 

Gettle,  Nettie,  piano,  voice  New  London,  Ohio 

Gilbert,  Isadore,  piano  Columbus,  Ohio 

Glover,  N.  L.,  public  schools  Akron,  Ohio 

Herritt,  Ella  M.,  piano,  organ  Xenia,  Ohio 

Housel,  Geo.  R.,  public  schools  Akron,  Ohio 

Houser,  J.  J.,  voice  Westerville,  Ohio 

Humphreys,  Miss  G.,  public  schools   .Delaware,  Ohio 

Hussey,  Jennie,  piano   Toledo,  Ohio 

Johnson,  Emma  L.,  piano,  harmony  Columbus,  Ohio 

Johnson,  H,  H.,  singing  ; — Havana,  Ohio 

King,  Minnie  S.,  piano    Westerville,  Ohio 

Knox,  A.,  Dennlson  University  Granville,  Ohio 

Lorenz,  E.  S.,  author  S.  S.  books  Dayton,  Ohio 

Luse,  J.  D.,  public  schools  Norwalk,  Ohio 

Mason,  Luther  Whiting,  public  schools  Boston,  Mass. 

McGranahan,  Jas.,  Convention  Conductor  Meadville,  Pa. 

Merz,  Karl,  Oxford  College  Oxford,  Ohio 

Miller,  Imogene,  piano,  organ    Tiffin,  Ohio 

Moulton,  Miss  N.  E  Toledo,  Ohio 

Myers,  Miss  J.,  piano,  voice  Bucyrus,  Ohio 

Myer,  Miss  E.  J.,  pianp,  voice  London,  Ohio 

Nation,  Anna  M  ,  voice  culture  Delaware,  Ohio 

O'Kane,  T.  C,  author  S.  S.  books  

Perkins,  H.  S.,  singing  and  conductor  Chicago,  III. 

Philips,  A.  J.,  public  schools  Warren,  Ohio 

Pontius,  Wm.  H.,  teacher,  conductor  Ada,  Ohio 

Porter,  Jas.  A.,  public  schools     Gallon,  Ohio 

Presser,  Theo.,  piano,  Female  College  Delaware,  Ohio 

Reimer,  David,  voice  London,  Ohio 

Resler,  Laura  E.,  piano,  organ,  Lebanon  Valley  College    Anville,  Pa. 

Khu,  August,  piano,  organ,  voice  Richmond,  Ind. 

Rice,  Fenelon  B.,  Oberlin  Conservatory  of  Music   Oberlin,  Ohio 

Root,  Dr.  Geo.  F.,  author  Chicago,  111. 

Short,  Katie  E.,  piano,  organ,  voice  Canal  Winchester,  Ohio 

Shull,  H.  H.,  piano,  voice  Columbus,  Ohio 

Stewart,  N.  Coe,  public  schools   Cleveland,  Ohio 

Slough,  Emma,  piano  Delaware,  Ohio 

SufEern,  William  J.,  Convention  Conductor   New  York 

Thresher,  Mrs.  A.  W..  voice,  piano  Granville,  Ohio 

Tourjee,  Eben,  New  England  Conservatory  of  Music  Boston,  Mass. 

Walker,  G.  W  Moravia,  Mich. 

Williams,  C.  C,  Convention  Conductor  Gustavus,  Ohio 


238 


MUSIC  teachers'  national  association. 


LIFE  MEMBERS. 

No. 

1  Heath,  W.  F.,  Past  President,  M.  T.  N.  A.,  Oshkosh,  Wis. 

2  Perkins,  H.  S.,  Secretarj'  M.  T.  N.  A.,  Voice,  Harmony,  Director  National  School  and 

College  of  MusJc,  26  Van  Buren  street,  Chicago,  Hi. 

3  Ziegfeld,  Dr.  F.,  Piano,  President  Chicago  Musical  College,  Central  Music  hall,  Chi- 

cago, 111. 

4  Heimendahl,  W.  Edward,  violin  and  Conductor,  417  N.  Charles  st.,  Baltimore,  Md. 

5  Leckner,  Max.  Past  President  M.  T.  N.  A.,  Piano,  282  Penii.  st.,  Indianapolis,  Ind. 

6  Parsons,  Albert  Ross,  Past  President  M.  T,  N.  A.,  Piano,  theory,  sestheiics,  Stein- 

way  Hall,  New  York  City. 

7  Heritage,  Richard  A.,  Voice,  Harmony,  Director  music  school,  Valparaiso,  Ind. 

8  Smith,  May  Lyle,  Violin,  Hudson,  N.  Y. 

9  Foereter,  Adolph  M.,  piano,  singing,  theory,  box  883,  Pittsburg,  Pa. 

10  Wulsin,  Clarence,  piano,  etc  ,  95  N.  Pennsylvania  street,  Indianapolis,  Ind. 

11  Sherwood,  Edgar  A  ,  piano^  theory,  etc.,  110  E.  Main  street,  Rochester,  N,  Y. 

12  Gleason,  Frederic  Grant,  piano,  organ,  theory,  composition,  84  Auditorium,  Chi- 

cago, HI. 

13  Foote,  Arthur,  piano,  theory,  composition,  2  W.  Cedar  street,  Boston,  Mass. 

14  Landon,  Chas.  W.,  organ,  piano,  voice,  composition,  director  conservatory  of  music, 

Claverack,  N.  Y. 

15  Kroeger,  Ernest  R.,  piano,  organ,  harmony,  3315  Laclede  avenue,  St.  Louis,  Mo. 

16  Church,  Lily  R.,  piano,  theoiy,  1208  Ann  street,  Parkersburg,  W.  Va. 

17  Hahn,  J.  H.,  President,  M.  T.  N.  A.,  piano,  director  conservatory  of  music,  40  W.  Fort 

St.,  Detroit,  Mich. 

18  Dana,  William  H.,  Pasti  Treasurer  M.  T.  N.  A.,  theory,  director  Dana's  School  of 

Music,  Warren,  O. 

19  Zeckwer,  Richard,  piano,  organ,  theory,  director  conservatory  of  music,  1617  Spruce 

street,  Philadelphia,  Pa. 

20  *Lavellee,  Calixa,  Past  President  M.  T.  N.  A.,  piano,  theory,  composition,  156  Tre- 

mont  street,  Boston,  Mass. 

21  Berg,  Edward  A.,  piano,  organ,  harmony,  107  S.  3d  street,  Reading,  Pa. 

22  Rosewald,  J.  H.,  violin,  soloist,  director,  938  Geary  street.  San  Francisco,  Cal. 

23  Gruenwald,  Mrs.  S.  P.,  piano,  Avenue  K,  bet.  24th  and  25th  streets,  Galveston,  Tex. 

24  Stevens,  Neally,  concert  pianist,  174  Wabash  avenue,  Chicago,  111, 

25  Zeisler,  Mrp.  Fannio  Bloomfield,  concert  pianist,  307  E.  Chicago  ave.,  Chicago,  HI. 

26  Derthick,  W.  M.,  music  biographical  and  statistical  publisher,  415  Dearborn  street, 

Chicago,  111. 

27  Stanley,  Albeit  A.,  piano,  organ,  theory,  director,  Ann  Arbor,  Mich. 

28  How,  James  Hamilton,  piano,  theory,  dean  DePaugh  School  of  Music,  Green  castle, 

Ind. 

29  Chittenden,  Kate  S.,  piano,  organ,  theory,  128  E.  16th  street.  New  York  City. 
♦Deceased. 


REGULAR  MEMBERS. 

ALABAMA. 

Doll,  C.  L  308  S.  Perry  st,,  Montgomery 

ARIZONA. 

Goldsburg,  Claude,  Army  Band  Leader  Fort  Apache 

Thomas,  Ludwig,  piano,  organ  Prescott 

CALIFORNIA. 

Arrillaga,  Santiago,  piano  2315  Jackson  st.,  San  Francisco 

Bonelli,  E.  S.,  piano..   1358  Market  St.,  San  Francisco 

Rosewald,  Mrs.  Julia,  voice  938  Geary  st.,  San  Francisco 

CANADA. 

Barillier,  Victoria,  piano   107  Pitt  st.,  Windsor 

Bartlett,  Margaret,  vocal  music  Windsor 

Bice,  Blanche  G.,  piano  Windsor 

Bluthner,  W.  Arthur,  piano,  harmony,  history  ..718  Waterloo  st.,  Toronto 

Dick,  Mrs.  D.  T.,  musician  22  Prince  Arthur  st.,  Toronto 

Donnelly,  May,  piano  578  Hesbourne  st.,  Toronto 

Fader  Benj.  L,,  violinist,  conductor  Hotel  Arlington,  Toronto 

Fisher,  Edward,  piano,  director,  Conservatory  of  Music  ....14  Wilton  Crescent, Toronto 
Fisher,  Mrs.  Edward,  piano  14  Wilton  Crescent,  Toronto 


MEMBERS. 


229 


Forsyth,  Jean,  voice  Windsor 

Golden,  Margaret  Anna,  piano,  organ  81  Goyean  st.,  Windsor 

Guillette,  Bessie  B.,  piano   182  Onellette  Ave.,  Windsor 

Harris,  Mande,  piano,  voice,  harmony  323  Jarvis  St.,  Toronto 

Hodson,  Mrs.  J.  M.,  music,  organist    Windsor 

Hubie,  Wm.  Jr.,  piano,  organ,  theory,  history   350  High  st.,  Hamilton 

Johnson,  Mrs.  C.  E.,  muBiciau  Windsor 

Kemp,  Flo.  C,  violin,  piano  266  Ki«g  st.,  Chatham 

Martin,  Thomas,  Director,  Music,  Hellmuth,  Col.,  983  Dufferin  ave.,  London 

McGIashan,  D.  L.,  vocalist  Windsor 

Moore,  Mrs.  F,  J.,  piano,  voice,  harmony,  composition  374  Duudae  St.,  London 

Ouellette,  Alma,  piano  Sandwich 

Puddicbmte,  H.,  piano,  organ  160  Lindenham  et.,  London 

Read,  J.  G  ,  piano   Sandwich 

Robertson,  Lucie,  piano    Vidal  st.,  Sarnla 

Robinson,  Nellie,  piano,  Demill  College  Ashawa 

Rolls,  Miss  I.,  piano  Chatham 

Sippi,  G.  B.,  piano,  organ,  voice,  violin   362  Dundas  st.,  London 

Sheppard,  Mrs.,  musician  London 

Thompson,  Mrs.  J.  J.,  piano  Chatham 

Tripp,  J.  D,  A.,  piano  20  Seatou  st.,  Toronto 

Wrong,  Georgiana,  vocal   Windsor 

Wrong,  Hester,  piano  Windsor 

Zollner,  Anna,  piano,  Demill  College  Ashawa 

COLORADO. 

Arrington,  Miss  F.  A.,  piano     •.  1705  West  St.,  Pneblo 

Bennett,  Luella,  piano,  composition  Broadway,  Denrer 

Mason,  Anna  S.,  piano  1425  South  13th  st.,  Denver 

Nast,  Henry  H.,  piano,  theory  63  Barth  Block,  Denver 

Pfeft'erkorn,  Otto,  music    Denver 

Stoddard,  Lillie  Lee,  piano,  organ   ,  Aspen 

Young,  Mrs.  J.  H.,  piano  1375  South  15th  st.,  Denver 


CONNSCTICUT. 

Allen,  N.  H.,  piano,  organ,  singing  382  Main  st.,  Hartford 

Fowler,  F.  A.,  piano,  organ,  voice,  theory   851  Chapel  st ,  Nev<r  Haven 

Huth,  Chas.  S.,  piano,  theory  91  Barnum  ave„  Bridgeport 

Jepson,  Benjamin,  music  in  Public  Schools  30  Grove  et..  New  Haven 

Osborn,  Frank  H.,  voice,  piano  708  Chapel  St.,  New  Haven 

Pike.  Alfred  W.,  music   1  Park  Ave,,  Stanford 

Piatt,  Chas.  S.,  piano,  theory   Newtown 

Pratt,  Waldo  S.,  voice,  theory,  history,  Theological  Seminary  Hartford 

Stoeckel,  Dr.  Gnatave  J.,  Director  mu>ic,  Yale  University  209  York  et..  New  Hav«n 

Warren,  H.  C,  piano,  organ,  theory   31  Reynolds  st.,  Danielsonville 

Yerrington,  H.  L.,  piano,  organ  N.  Washington  st.,  Norwich 

McCormick,  F.  P.,  piano,  organ,  theory  New  London 

DISTRICT  OF  COLUMBIA. 
Bnllard,  Otis  B.,  voice,  director,  1S25  10th  st,,  N.  W.  Con.  of  Music,  St.  Cloud,  Washington 

FLORIDA. 

Parker,  Mrs.  Ankie  G.,  piano  !..Ocala 

GEORGIA. 

Ceurda,  V.,  piano,  violin  organ.  Academy  for  the  Blind  Macon 

Showalter,  A.  J.,  voice,  organ,  theory,  journalist  2  O.  H.  Block,  Dalton 

Yonder  Hoga,E.  A.,  violin  voice  58  Bernard  st..  Savannah 

ILLINOIS. 

Abbott,  F.  D.,  music  journalist,  325  Dearborn  st.,  Chicago 

Archer,  Lucy,  voice    651  Washington  Bd.,  Chicago 

Armstrong,  Wm.  D.,  piano,  organ  29  Commercial  st.,  Alton 

Benedict,  Hattie,  piano  34  Monroe  st.,  Chicago 


230 


MUSIC  TEACHERS   NATIONAL  ASSOCIATION. 


Bentley,  Wm.  F.,  piano  and  orchestra  325  Monmouth  Bd.  Qalegburg 

Bliss,  Mary  E.,  piano  428  Lake  st,  Oak  Park 

Bretherick,  H.,  director,  conductor  of  music  644  Main  st.,  Qaincy 

Brown,  Bernine,  piano,  organ,  harmony  1541  Carrol  ave.,  Chicago 

*Butterfield,  J.  A.,  voice,  theory,  composition  Kimball  Hall,  Chicago 

Cady,  C.  B.,  piano,  composition  Auditorium,  Chicago 

Cady,  Mrs.  C.  B.,  piano  214  Cass  St.,  Chicago 

Clark,  Ella  M.,  piano    La  Grange 

Covey,  MisB  M.  E.,  piano,  voice   299  S.  Oakley  ave.,  Chicago 

DeCampi,  Eliodoro,  singing,  harmony,  composition  Chicktring  Hall,  Chicago 

Derthick,  Mrs.  W.  M  417  Dearborn  st,  Chicago 

Dodge,  Chas.  W.,  piano  241  Wabash  ave.,  Chicago 

Doty,  Alice  L.,  piano,  organ,  theory  Aurora 

Doty,  Elena  R.,  Public  School  music  266  East  Huron  St.,  Chicago 

Eddy,  Clarance,  organ,  piano,  theory  282  Michigan  ave.,  Chicago 

Eddy,  Mrs.  Sara  Hushey,  singing    23S  Michigan  ave.,  Chicago 

Fox,  Mrs.  O.  L.,  voice    301  Ashlan  l  Bd.,  Chicago 

Fowler,  Emma  Louiae,  voice  242  Wabash  ave,,  Chicago 

Goodrich,  A.  J.,  musical  author    200  Wabash  ave.,  Chicago 

Quillette,  Nellie  M.,  piano  4525  Oakwood  ave.,  Chicago 

Hattstaedt.  J.  J.,  piano,  director  and  conductor  of  music.  Chickering  Hall,  Chicago 

Hall,  Mrs.  Mary  Stilwell,  piano  Omaha 

Heinzen,  Carl  V.,  violin,  conductor  of  music  644  Main  st.,  Quincy 

Hyllested,  August,  piano  412  Superior  st.,  Chicago 

Hyllested,  Mrs.  Clara,  music.   412  Superior  st.,  Chicago 

Koelling,  Adolph,  piano,  theory  2342  Calumet  ave.,  Chicago 

Krosser,  Mrs.  M.  R.,  piano  259  E.  Ohio  st.,  Chicago 

Kurtz,  J.  H.,  voice,  music  in  Public  Schools  32  DeKalb  st.,  Chicago 

Lewing,  Adele,  piano  174  Wabash  ave.,  Chicago 

Liebling,  Emil,  piano    Kimball  Hall,  Chicago 

Lovell,  Will  Carlton, piano   Hampuhire 

Lovell,  Lovina,  voice,  piano  Hampshire 

Lovell,  Leander  C,  violin  Sycamore 

McAllister,  D.  C,  voice,  conductor  446  E.  45th  st.,  Chicago 

McCarrell,  A.  F.,  piano,  organ  Evanston 

Mathews,  W.  S.  B.,  piano,  organ,  critic   240  Wabash  ave . ,  Chicago 

Marum,  Ludwig,  violin  1510  Michigan  ave  ,  Chicago 

Merki,  Maud,  piano  5005  School  st,  Chicago 

Moffatt,  Lizzie  M.,  piano  Wheaton 

Petzet,  Walter  Fr.,  piano,  composition  Central  Muaie  Hall,  Chicago 

Petzet,  Mrs.  Walter  Fr.,  Chicago 

Pettengill,  Alice,  piano  Bunker  Hill 

Phelps,  Mrs.  Dora  E.,  piano  singing  31  Artisan  ave.,  Chicago 

Pietsch,  Herman,  piano,  harmony  538  Burling  st  ,  Chicago 

Richards,  Frank  R.,  piano,  voice,  harmony  Amboy 

Rohland,  Mrs.  C.  B.,  piano,  theory  123  E.  2d  st.,  Alton 

Root,  Frederic  W.,  singing  Kimball  Hall,  Chicago 

Rothchild,  Fred,  piano   ...58  N.  Clinton  st.,  Chicago 

Beifoerr,  M.  J.,  piano,  theory,  history  334  North  Ave.,  Chicago 

Seitz,  Carl  H.,  piano,  organ,  harmony  P.  O.  Box  88,  Ravenswood 

Smedley,  William,  vocal,  choir  master  395  Superior  st.,  Chicago 

Smith,  Minnie  M.,  piano,  organ,  harmony  Maiden 

Smith,  Heary  C,  piano,  voice  Naperville 

Schoenfeld,  Henry,  piano  composition   685  N.  Park  ave.,  Chicago 

Watson,  Mrs.  L.  H.,  piano  297  Indiana  et.,  Chicago 

Weeks,  Helen  F,,  piano  Evanston 

Whipple,  Mrs.  D.  B.,  piano     4728  Wabash  ave.,  Chicago 

Wild,  Harrison  M.,  piano,  organ,  theory  Chickering  Hall,  Chicago 

*Deceased. 

INDIANA. 

Anderson,  Minnie  M.,  piano  86  Wayne  St.,  Fort  Wayne 

Ball,  Lizzie,  instrumentalist  Valparaiso 

Butler,  Henry  M.,  music  in  Public  Schools  580  N,  Alabama  st.,  Indianapoli* 

Davenport,  Florence  G  ,  voice  Elkhart 

Dungan,  J.  M.,  piano,  singing    Franklin 

Forsyth,  Clarence,  piano,  organ,  composition,  school  music  Indianapolia 

Goodale,  Minnifried,  instrumental  music  Angola 

Hunter,  Mrs.  Florence,  piano,  theory   122  E.  Ohio  st,,  Indianapolis 

Kinsey,  J.  F.,  vocal,  musical  journalist  La  Fayette 

Matchette,  Dora  F.,  piano  Pierceton 

McDowell,  Emily  G..  piano  6  Greenwood  St.,  La  Fayette 

Hewland,  Robt.  A.,  piano,  organ  126  E.  North  st.,  Indianapolis 

Porter,  Alice  A.,  piano,  Tri-State  Normal  School  Angola 


MEMBERS. 


281 


Pauley,  J.  Edgar,  musical  journalist  LaFayette 

Schones,  Emma,  LaFayette 

ghaff,  Mrs.  Lottie  K.,  piano,  voice  East  German  town 

Smith,  Hattie,  masic  in  Public  Schools    Goshen 

Towers,  John,  singing,  lecturer,  school  of  music  416  N.  Penn.  St.,  Indianapolis 

Wilson,  Julia  E.,  piano,  organ  SSI  W.  Berry  St.,  Port  Wayne 

IOWA. 

Chase,  Alice  Bradstrtet,  vocal  and  instrumental  Iowa  City 

David,  Virgil  E.,  piano,  orchestral  and  band  instruments  Washington 

Deming,  Miss  J.  R.,  Dubuque 

Hoyt,  Jennie  M.,  piano    Mt.  Vernon 

Irons,  Leola,  piano  Mt.  Vernon 

Kerr,  Rose  L  Dubuque 

Kelsey,  Georgia  W.,  organ,  piano,  theory  907  Virginia  St.,  Sioux  City 

Kimberlv,  Hattie,  piano  907  Virginia  St.,  Sioux  City 

Klehie,  Adolph  Carl  1130  Iowa  st.,  Dubuque 

Madison,  Gertie,  musician  u  Mt.  Vernon 

Madison,  Blanche,  musician.   Mt.  Vernon 

Miller,  Luella,  musician  Mt.  Vernon 

Perrine,  Gertrude,  musician   Mt.  Vernon 

Rommel,  A.,  piano  Mt.  Pleasant 

Ruggles  J.  W.,  piano  voice,  theory.   Fayette 

KANSAS. 

Davidson,  S.,  theory  406  Miami  St.,  Leavenworth 

Dudley,  Lillian  Marie,  piano  and  harmony  Marion 

Gilbert  N.  S.,  piano  and  voice  Leavenworth 

Hays,  Mrs.  David,  piano  and  theory  704  S.  Water  St.,  Wichita 

Tilson,  Miss  V.  M.,  piano  and  organ   -   Marion 

KENTUCKY. 

Ballard,  Mrs.  T.  D.,  piano  „  N.  Upper  St.,  Lexington 

Bach,  J.  Maurice,  piano,  organ  and  theory   . .  .Lower  Main  St.,  Henderson 

Bach,  Mrs.  J.  Maurice,  voice  and  piano  Lower  Main  St.,  Henderson 

Caldwell,  R.  F.,  music   33  West  4th  St.,  Covington 

Caldwell,  Mrs.  Jessie  B.,  voice  33  West  4th  St.,  Covington 

De  Roode,  Rudolf,  Past  Pres.  M.  T.  N.  A.,  piano,  voice,  36  Rose  st  Lexington 

Dewherst,  Emma  C,  1125  Lloyd  St.,  Louisville 

Koester,  Raphael,  violin  and  piano  Lancaster 

Logan,  Bettie  C,  piano  and  theory,  Wilkin's  Block,  4th  Ave.,  Louisville 

Musselman,  Maud,  voice  Cynthiana 

Pelcher,  Mattie,  piano  E.  Maxwell  St.,  Lexington 

Walters,  Lena,  piano  and  voice  Cynthiana 

MAINE. 

Best,  Florence  M.,  piano  52  Spring  St..  Portland 

Dodd,  Ida  L.,  piano  .....P.  O.  Box  123,  Monmouth 

Marston,  G.  W.,  piano  and  organ  81  Free  St.,  Portland 

Rankin,  Frank  L.,  piano  Brown  Block,  Portland 

Thomas,  Geo.  A.,  vocalist   145  Danforth  St.,  Portland 

MASSACHUSETTS. 

Allen,  Ben j.  D.,  piano,  organ  and  composition  173  Main  St.,  Worcester 

Andrews,  J.  Warren,  piano  and  organ  163  Magazine  st,,  Cambridgeport 

Bailey,  Sarah  Goodspeed,  piano,   1501  Dorchester  ave.,  Boston 

Brown,  O.  B.,  piano  and  harmony,  public  schools   213  Pleasant  St.,  Maiden 

Clark,  Lucy  E.,  piano,  organ  and  harmony  The  Clyde,  Isabella  st.,  Boston 

Clark,  Camile,  voice  23  John  st,,  Worcester 

Chase,  Mrs.  Abbie  S.,  piano —  233  Elm  St.,  West  Somerville 

Clemson,  Walter  John,  organist  and  choir  master,   Taunton 

Poster,  Annie,  piano  45  Laurel  st.,  Somerville 

Hammond,  Benj.  T.,  singing  452  Main  st.,  Worcester 

Hammond,  Wm.  C,  piano  and  organ  Holyoke 

Healy,  Miss  E,  L.,  piano   Dudley 


232 


MUSIC  teachers'  national  association. 


Howes,  C.  F.,   ,  700  Harrison  ave.,  Boston 

Johnston,  Michael  J.,  piano  and  organ  76  Suffolk  st.,  Lowell 

Kelsey,  Edw,  Everett,  piano,  organ,  voice  and  theory  11  Hamlet  St.,  Somerville 

Kimball,  E.  N  700  Harrison  st,  Boston 

Lang,  B.  J.,  piano  and  organ   Chickering  &  Sons,  Boston 

Locke,  Warren  A.,  piano  and  organ  10  Putnam  ave.,  Cambridge 

Lindsey,  Hattie  W.,  piano  24  Belmont  ave..  Fall  River 

MacDowell,  E.  A.,  piano,  theory  and  composition  13  W.  Cedar  st.,  Boston 

Mason,  Dr.  L.  W.,  music  in  public  schools  Boston 

Miller,  Henry  F.,  156  Tremont  St.,  Boston 

Miller,  Wm.  T.,  156  Tremont  st.,  Boston 

Morse,  Prank  E.,  voice   North  EastCon  of  Music,  Boston 

Newman,  Sarah  Elliot,  piano  and  harmony  45  W.  Newton,  Boston 

Perry,  Edwin  Baxter,  concert  pianist.  178  Tremont  St.,  Boston 

O'Shea,  John  A  ,  piano,  organ  and  harmony  49  Chelsea  st.,  East  Boston 

Schwamb,  Eliza  A.,  piano  Arlington  ave.,  Arlington 

Silver,  Edgar  O.,  journalist  and  publisher  6  Hancock  ave.,  Boston 

Thomas,  Kate  A.,  piano  10  Clay  st.,  Lowell 

Vincent,  Mrs.  Marie  T.,  piano,  organ  and  harmony  175  Tremont  st.,  Boston 

Warren,  Augenette,  piano  Plainville 

Whitney,  S.  B.,  piano,  organ  and  theory  125  Tremont  st,  Boston 


MAEYLAND. 

Loewy,  Lewis,  piano  and  theory  300  N.  Green  st,  Baltimore. 

Stieff,  M.  G.,  piano  and  organ   108  W.Fayette  St.,  Baltimore 


MICHIGAN. 

Abel,  F.  L.,  piano,  singing  and  'cello  Detroit  Con.  of  Music,  Detroit 

Adams,  Zaida  M.,  piano  Sheboygan 

Adams,  Mrs.  S.  E.,  elocution  Academy  of  Music,  Detroit 

Adams,  L.  E.,  piano  Academy  of  Music,  Detroit 

Allen,  Orlal).,  organist  42  Winder  st.,  Detroit 

Alexander,  Fred,  organist   56  Piquette  ave.,  Detroit 

Allison,  Marguerite,  piano.  40  Baker  st.,  Detroit 

Allworth,  Frank  A.,  piano  Almont 

Anderson,  Carrie,  piano  156  Lincoln  ave,,  Detroit 

Andrus,  Agnes,  piano  Detroit  Con.  of  Music,  Detroit 

Andrus,  Alice,  voice  Detroit  Con.  of  Music,  Detroit 

Apel,  Franz  A.,  piano  28  E.  High  st.,  Detroit 

Apel,  Lily  A.,  piano  28  E.  High  St.,  Detroit 

Armour,  Maggie,  music  St.  Johns 

Armstrong,  bessie,  piano    Almont 

Armstrong,  Louise,  vocal  101  E.  Columbia  st,  Detroit 

Armstrong,  Hattie  M.,  vocal   .  ..101  E.  Columbia  St.,  Detroit 

Babbitt  Mrs.,  singing  Ypsilanti 

Babbitt,  Alice,  singing  Ypsilanti 

Babbitt,  Nora,  singing.   Ypsilanti 

Bacon,  Clara,  piano   St  Clair 

Baird,  Anna  Belle,  vocalist  Holly 

Ball,  Mrs.,  F.  W.,  piano    Grand  Rapids 

Bailey,  S.Ada,  piano   .Reading 

Banwell,  H.  M.,  737  Cass  ave.,  Detroit 

Backus,  Mrs.  Henry,  voice  35  Trumbull  ave,  Detroit 

Batchelder,  J.  C,  piano  and  organ  Detroit  Con.  of  Music,  Detroit 

Barber,  Minnie,  piano  52  W.  Montcalm  st„  Detroit 

Baxter,  Tillie  W.,  piano  Detroit 

Barton,  Edith,  pjano  :  Flint 

Barnard,  Emily,  pi'ino  Chestnut  st,  Lansing 

Beadle,  Harry,  vocalist     36  Myrtle  St.,  Detroit 

Beal,  Mary,  piano    39  Charlotte  ave.  Detroit 

Beal,  Carrie,  piano  34  Charlotte  ave.,  Detroit 

Beardslee,  Mae,  piano  —  Cole 

Beebe,  Sophie,  piano     ...Jackson 

Belcher,  Jennie,  mu-ic  in  schools    Saginaw 

Bennett  Edith,  piano  Washmgton 

Bennett  Mrs.  Walter  A.,  piano    Jackson 

Benedict,  E.,  voice  40  Sibley  et,  Detroit 

Bell,  Mrs.  J.  M  ,  534  4th  ave.,  Detroit 

Belknap,  Will  E.,  musician  63  E.  Maumee  st  Adrian 

Bentley,  Mrs.  M.  D.,  piano  697  2d  ave.,  Detroit 

Berdan,  O.  F.,  violin  Woodward  ave,,  Detroit 


MEMBERS. 


233 


Berry,  H  ittie,  659  E.  Fortst.,  Detroit 

Betts,  Jessie  M.,  piano  Burr  Oak 

Bishop,  W.  W.,  74  Pitcher  St.,  Detroit 

Bloor,  Mrs.  C,  piano  and  organ  Plymouth 

Bingham,  Mary,  piano  1208  1st  st.,  Jackson 

Birdsell,  Mrs.  B.,   525  2d  ave.,  Detroit 

Blindburg.  Ella,  voice  25  E.  Alexandrine  ave.,  Detroit 

Blodgett,  May  N.,  piano  56  Jefferson  Terrace,  Detroit 

Briscoe,  Benjamin  F.,  chorister   156  Lincoln  ave.,  Detroit 

Brockvvay,  Ella  H.,  musical  history  995  E.  Porter,  Albion 

Bromley,  Lillian  M..  piano  99  Prentice  st.,  Detroit 

Brigham,  Mary,  piano  1288  1st  st.,  Jackson 

Brown,  Maud,  vocal   Grand  Ledge 

Brown,  Mrs.  Freeman  M.,  piano  44  E.  Columbia  st.  Detroit 

Brownell,  Kate,  piano   Utica 

Brooklns,  Miss  Prank,  piano   45  Bennett  st..  Battle  Creek 

Bruner,  Helen,  167  Brainard  st.,  Detroit 

Brush,  Mrs.  Nellie  H.,  voice  Con.  of  Music,  Detroit 

Bowlby,  Helen  V.,  music  in  Public  Schools    Battle  Creek 

Botsford,  Emma,  voice  19  Sibley  st.,  Detroit 

Boughton,  Mrs.  F.  P.,  voice  35  Trumbull  ave.,  Detroit 

Burridge,  Addie,  piano  Capitol  ave.,  Lansing 

Burrowes,  Katharine,  piano  Detroit  Con.  of  Music,  Detroit 

Burrowes,  Miss  M.  A.,  voice  1183  Michigan  ave.,  Detroit 

Byrne,  Miss  Byrd,  piano  206  Lansing  ave.,  Jackson 

Cady,  Mrs.  Allie,  piano  456  Putnam  ave.,  Detroit 

Cady.  Grin,  voice  Academy  of  Mu^ic,  Detroit 

Caldwell,  Lizzie,  piano  153  Harrison  ave.,  Detroit 

Campbell,  Francis,  voice  Grand  Rapids 

Carlette,  Jessie,  voice  -..66  Farrar  st.,  Detroit 

Carter,  AnnaM.,  piano  944  E.  Con'gress  st.,  Detroit 

Carpenter,  Mrs.  E.  R.,  singing  Grand  Rapids 

Carpenter,  Anna,  singing  Grand  Rapids 

Carly,  Hugb,  voice  456  Putnam  ave.,  Detroit 

Carly,  Mabel,  piano,    585  Cass  ave.,  Detroit 

Cassady,  Anna,  606  Mechanic  st.,  Jackson 

Chaperton,  Florence  E.,  piano  Mt.  Clemens 

Champ,  Mrs.  Georgia,  vocal,   Adelaide  st.,  Detroit 

Chene,  Felix,  vocalist  783  Jefferson  st  ,  Detroit 

Cheshire,  Georgia,  piano   Cross  st.,  Ypsilanti 

Chancy,  Nellie,  vor-al  ,  Ill  W.  Hierh  st.  Detroit 

Chase  Jessie,  vocal  31  Edmond  Place,  Detroit 

Chase,  Melville  W.,  piano  and  harmony  -. .  Hillsdale 

Christiancy,  H.,  violin  31  Joy  st.,  Detroit 

Christiancy,  Ida,  31  Joy  St.,  Detroit 

Clark,  Mrs.  Helen,  vocal  739  Cass  ave,,  Detroit 

Clark,  Emma  E.,  piano  411  3d  ave.,  Detroit 

Clark,  Emma  E.,  piano   Wyandotte 

Cleveland,  Ella,  piano  75  W.  High  st.,  Detroit 

Clougb,  Minnie,  piano  11  E.Alexandrine  ave.,  Detroit 

Champion,  Claribel,  voice  113  Alfred  st..  Detroit 

Chilvers,  Thomas  H.,  piano  63  Wilcox  st.,  Detroit 

Chipman,  Mrs.  Hfirry  F.,  piauo    65  Clift'on  st.,  Detroit 

Chipman,  Harry  F.,  vocal  65  Cliffon  St.,  Detroit 

Church.  Frances  G.,  piano,  harmony  and  theory  '.  Quincy 

Clark,  Frances  G.,  piano  and  organ  Ecorse 

Clark,  Mrs.  Helen,  vocal    ,   739  Cass  ave.,  Detroit 

Collins,  Nora,  piano   ..  Corunna 

Cole,  John  A.,  9  College  st.,  Hillsdale 

Coryelle,  Mrs.  B.  G.,  piano  Chesaning 

Coolidge,  Lulu  S.,  music  in  public  schools  »  545  4th  ave.,  Detroit 

Corey,  Minnie  E.,  vocal,  50  Locust  st.,  Detroit 

Cole,  Lula   72  Bradley  st.,  Detroit 

Conover,  Will  C,  voice  71  Winter  St.,  Detroit 

Conover,  Miss  71  Winter  St.,  Detroit 

Colwell,  Mrs.  M.,  103  Lagrave  st,.  Grand  Rapids 

Colwell,  Chas.  N.,  piano  and  organ  103  Lagrave  st.,  Grand  Rapids 

Colwell,  Mrs.  C.  N.,  ^  103LaGr&Dge  st.,  Grand  RapidB 

Collier,  W.  W.,  674  Cass  ave.,  Detroit 

Callins,  Mrs.  Lucy,  piano  Elliot  St.,  Detroit 

Colt,  Mrs.  Joseph,  piano  162  E.  Congress  St.,  Detroit 

Conley,  Kate  lone,  piano  .=  ,  l79  Canfield  ave.,  Detroit 

Connor,  Annie  J.,  piano  343  Selden  ave.,  Detroit 

Comstock,  Millie,  piano     Owosso 

Cook,  Mary  A.,  vocalist  30  Bagg  st.,  Detroit 


234 


MUSIC  teachers'  national  association. 


Cook,  Lucy  R..  piano   30  Bagg  st.,  Detroit 

Corlette,  Jessie,  voice  66  Farrar  st,,  Detroit 

Crawford,  Wm.,    Midland 

Crane,  Charlotte,  organ  105  Farmer  St.,  Detroit 

Crane,  Edwin  C,  vocalist  78  W.  Elizabeth  et.,  Detroit 

Cranz,  C.  E.,  311  N.  Warren  st..  East  Saginaw 

Critzer,  Wm.  H.,  vocal  125  Brigham  st.,  Detroit 

Crissman,  Myrtle,  piano  and  organ     Utica 

Crosby,  Jennie,  voice  334  6th  St.,  Detroit 

Croxson,  Louis,  piano  118  Williams  St.,  Muskegan 

Currier,  F.  M..  voice  205  Lafayette  ave.,  Detroit 

Curtis.  Bertha,  piano  and  vocal  Rochester 

Daily,  Elvie,  voice,  piano  43b  3d  ave.,  Detroit 

Daker,  Ella,  679  24th  st.,  Detroit 

Davis,  Mrs  Geo.  B.,  voice  ...Utic* 

Davis,  Mrs.  S.  G.,.  504  12th  st.,  Detroit 

Davis,  Sadie,  piano,  Academy  of  Music   Detroit 

Davis,  Miss,  vocal  Fenton 

Davis,  Mrs.  F.  M.,  vocal  532  Cherry  st..  Grand  Rapids 

Dart,  Mrs.  Nellie  B.,  piano,  violin  609  Garland  st.,  Flint 

Dart,  Hattie,  piano  Pontiac 

Day,  A.,  church  music  44  W.  Elizabeth  st.,  Detroit 

Dean,  Anna  C . ,  piano  ,  136  Trumbull  ave . ,  Detroit 

Delphey,  Ella  M.,  piano,  school  of  music.  Monroe 

De  Forest,  Lillian,  piano  616  John  Randolph  St.,  Detroit 

De  Lano  Mrs.  S.  S.,  pianist  Qi  Watson  st.,  Detroit 

Dessotell,  Carrie,  piano   53  W.  High  St.,  Detroit 

Dexter,  Mrs.  John,  voice  Miami  ave.,  Detroit 

Desmond,  Lucie  C,  piano  Wyandotte 

Dickenson, Mary,  piano  Oak  St.,  Ypsilanti 

Diedrich,  Minnie,  piano  SOS  E.  Fort  St.,  Detroit 

Doane,  Mrs.  G.  H.,  vocalist    Holly 

Doane,  Mrs  v.  M.,  vocal   Midland 

Donnoughue,  Mary  O.,  piano,  organ  533  Cherry  st.,  Grand  Rapids 

Damon  Avonia,  piano   305  Maple  St.,  Ypsilanti 

Dooling,  Annie  C,  piano,  theory  St.  Johns 

Dow,  C.  B.,  piano  73  Stimson PJace,  Detroit 

Dow,  Nellie  D . ,  piano  Sand  Beach 

Doyle,  E.  E.  piano  481  Trumbull  ave.,  Detroit 

Duff,  Helen  Y  .,  piano  Owosso 

Edwards,  A.  D.,  piano  51  Winder  st.,  Detroit 

Eldredge,  Mrs.  G.  H.,  voice   67E.  Maumeest.,  Adrian 

Elliott,  Eugenia,  piano   Pontiac 

Emerson,  Mrs.  J.  E.,  voice  '  128  Henry  st.,  Detroit 

Enright,  Kate  F.,  piano  Ishpeming 

Farnsworth,  Ellen,  piano  13  Charlotte  St.,  Detroit 

Fecht,  Emma,  piano    185  E.  Congress  St.,  Detroit 

Field,  Dr.  P.  P.,  voice  and  oratory  11  W.  High  st.,  Detroit 

Pindlater,  Sallie,  piano  90  W.  Elizabeth  st.,  Detroit 

Fitch,  Jennie,  piano   513  Woodward  st.,  Kalamazoo 

Fitch,  J.  W.,  voice  144  Henry  St.,  Detroit 

Fitzsimmons,  Ida,  piano,  voice  364  Barter  st.,  Ionia 

Ford.  Fannie  H.,  pianist  Grand  st.,  Laasing 

Fozert,  Lura  W.,  piano  525  Warren  ave.,  Detroit 

Freeman,  Hallie,  piano,  organ  715  N.  Saginaw  et.,  Flint 

Gale,  A.  W.,  piano,  organ,  school  of  music  ,  Monroe 

Gale,  Frank  C,  piano   -       — Corunna 

Gale,  Mrs.  Frank  C . ,  piano . . .  Corunna 

Gates,  Mrs.  Gasper  C.,  piano  235  Alexandrine  ave.,  Detroit 

Gallop,  Mrs.  L.  W.,  vocalist    257  Park  st.,  Detroit 

Gilmore,  Emily,  piano  125  Selden  et.,  Detroit 

Goodson,  Florence,  321  S.  Huron  st.,  Ypsilanti 

Gorton,  H.  Spencer,  piano,  harmony  385  4th  ave.,  Detroit 

Grayson,  Dora  R.,  music  in  the  public  schools  Tecumeeh 

Graham,  Marian,  piano  346  Trumbull  ave.,  Detroit 

Graham,  Mary,  piano  346  Trumbull  ave.,  Detroit 

Grant,  Alice,  voice  1245  Woodward,  ave.,  Detroit 

Grant,  Forence,  piauo.  voice  1245  Woodward  ave.,  Detroit 

Graves,  Ju<1ith,  pianist  Academy  of  Music,  Detroit 

Gray,  Mrs.Wm.,  piano  616  Jefferson  ave.,  Detroit 

Gregory,  Lena  A.,  piano  Owosso 

Grimmer,  M.  Marguerite,  vocalist  341  State  et.,  Ionia 

Grennell,  Grace,  piano  *.  Jackson 

Groneman,  Hattie,  piano  179  B.  Fort  St.,  Detroit 

Gunn,  Mrs .  J .  S.,  piano    -  Stanton 


MEMBERS. 


235 


Groinner,  Fannie  L.,  piano  Ann  Arbor 

Hadlcv,  Margaret  P.,  music  in  Public  Schools  361  Hubbard  ave.,  Detroit 

Haines,  Tina  M.,  piano,  organ  358  2d  st,,  Manistee 

Hall,  Edith,  music  in  Public  Schools  Flat  Rock 

Hammond,  Mrs.  Q.  S.,    83  E.Willis  ave.,  Detroit 

Hanchett,  Jennie,  piano  Leslie 

Hause,  J.  D.,  piano  Clinton 

Halliday,  Annette  J.,  piano,  voice  31  Duffleld  St.,  Detroit 

Hamilton,  Mrs.  Anna,  vocal  60  Brigham  st.,  Detroit 

Hargrave,  Mrs.  Lydia  P.,  piano  579  Trumbull  ave.,  Detroit 

Harris,  J.  Floyd,  piano  Almont 

Harrah,  Alice  May,  vocal  136  W.  High  st.,  Detroit 

Harrah,  Mary  B.,  piano  136  W.  High  st.,  Detroit 

Hart,  Jenuie,  vocalist   277  Putnam  ave.,  Detroit 

Harris,  Myrtilla,  piano  New  Haven 

Hasliins,  Mary^  piano  Ecorse 

HalJ,  Qustavus  F.,  voice.  Abstract  Building  Lafayette  Ave.,  Detroit 

Hasler,  Nellie,  pianist   Washtenaw  st,,  Lansing 

Hastings,  Lizzie  K.,  piano  100  Lafayette  ave.,  Detroit 

Havs^ley,  Mary,  piano  ...32  FarnBworth  st.,  Detroit 

Hawn,  Linda  Marie,  mueic  in  Public  Schools  932  S.  Washington  ave..  East  Saginaw 

Haywood,  Maud  L.,  piano  Mt.  Clements 

Hilderbrandt^H.  C.  cornet  and  french  horn  47  Brewster  st.,  Detroit 

Hill  Mrs.  K.  H.  M.  voice,  piano  405  Millard  et.,  Saginaw 

Hinman,  Eliza,  piano  Capitol  ave.,  Lansing 

Hicks,  Jennie  M.,  musician  St.  Johns 

Hobbs,  Nellie  K.,  piano,  vocal    Benton  Harbor 

Hollands,  Irene,  piano    160  W.  Warren  ave.,  Detroit 

Holmes,  Margaret,  vocal  169  Locust  St.,  Detroit 

Hough,  E.  Grace,  piano,  organ,  harmony  Lapeer 

Houghton,  S.  L.  piano  Northville 

Howell,  Mrs.  C.  E  141  Sycamore  st.,  Detroit 

Hoyt,  F.  L.  piano,  voice,  school  of  music   . .  .Monroe 

Humphrey,  Bernice,  piano   125  Selden  ave.,  Detroit 

Humphrey,  Fannie,  piano  Grand  St.,  Lansing 

Hunter,  Fordyce,  piano  Wyandotte 

Hulbert,  P.  M  85  Hazel  St.,  Detroit 

Hunt,  Harriette  E.,  piano  530  W.  Wilkins  st.,  Jackson 

Huyett,  Mrs'.  M.  C.  piano  333  Lafayette  ave.,  Detroit 

Hnyett,  Neff  333  Lafayette  ave.,  Detroit 

Ingalls,  Nina,  piano    Almont 

Jacobs,  Kate  H.  piano,  Detroit  Con.  of  Music  Detroit 

Jacquemain,Xizzie,  piano  499  15th  st.,  Detroit 

Jenney,  Belle  A.,  piano  424  W.  5th  st.,  Flint 

Jennings,  Mrs.  Albert,  piano  513  Oak  st.,  Manistee 

Jessup,  Mrs.  A.  M. .    505  Bagg  St.,  Detroit 

Johnson,  Maud,  piano   114  Seldon  ave.,  Detroit 

JohDson,  Lizzie,  piano  696  Beaubien  st.,  Detroit 

Kahn,  Albert  106  Jones  st.,  Detroit 

Kaiser,  Antoinette,  piano —  446  Gratiot  ave.,  Detroit 

Kedzie.Mrs.  Kate  M  ,  piano  Washington  ave.,  Lansing 

Kelley.  Mrs.  John,  piano  45  Watson  St.,  Detroit 

Kempf,  Ruben,  piano,  organ,  harmony  200  S.  Division  st.,  Ann  Arbor 

Kennedy,  Mrs.  Frank,  piano  42  Ellen  st.,  Detroit 

Kennedy,  Madeline   131  West  Franklin  St.,  Jackson 

Kerns,  Mrs.  S.,  piano  137  Laurel  St.,  Detroit 

Kile,  Miss  A.,  piano   Farmer  Creek 

Klugh,  May  C,  piano  .•  328  W.  Fort  St.,  Detroit 

Klock,  G.  W.,  piano,  singing    Coldwater 

Knox,  Miss  E.  J.,  piano  State  St.,  Hart 

Koestor,  Raphael,  violin,  piano  Blissfleld 

Krooz,  Mrs.  Carston,  vocal   440  Putnam  ave.,  Detroit 

Lame.  Charlotte,  organ  105  Farmer  st.,  Detroit 

Langyear,  Alice,  piano,  organ  42  Clifford  st.,  Grass  Lake 

Lawrence,  Leonard,  vocal  Leid  St.,  Detroit 

Lawson,  Minnie,  piano  50  Lewis  St.,  Detroit 

Langlois,  A.  A.  singing   146  E.  Congress  st.,  Detroit 

Langlois,  Mrs.  Fannie  M  146  E.  Congress  st.,  Detroit 

Langlois,  Sylvain,  singing   146  E.  Congress  st,  Detroit 

Laughrey,  Lula  Midland 

Leach,  Mary  P.  organist  95  Ledyard  st.,  Detroit 

Leavens.  Miss  Franc,  piano  127  South  st.,  Kalamazoo 

Lewis,  Eva,  piano    Port  Huron 

Lewis,  Grace,  piano  Granville 

Lewis,  Gay  S.,  piano  67  Broad  st.,  Adrian 


236 


MUSIC  teachers'  national  association. 


Leggett,  May,  violin,  Detroit  Con.  of  Music  Detroit 

Leggett,  W.  H.,  violin  52  Brainard  st.,  Detroit 

Ltmpke,  Augusta,  voice  365  Grand  River  ave.,  Detroit 

Lemon,  Satie,  piano  803  2d  ave.,  Detroit 

Levy,  Miss  Ray,  piano   165  E.  Montcalm  st.,  Detroit 

Lipsey,  Chas.  H.  piano  49  E.  Montcalm  5t.,  Detroit 

Linde,  Hedwig,  piano  187  Charlotte  ave.,  Detroit 

Little,  Mary  F.,  piano  Owobso 

Livingstone,  Margaret,  piano  237  Park  st.,  Detroit 

Long,  Belle  K.,  vocal  Northville 

Longyear,  Alice,  piano,  organ  4?  Clifford  st.,  Grass  Lake 

Loage,  Hattie  E.,  piano  660  4tli  ave.,  Detroit 

Long,  Cecil,  organ  513  Woodward  st.,  Kalamazoo 

Lorman,  Jessie  1145  Jefferson  ave.,  Detroit 

Lowe,  Edith  L.,  piano  809  Cass  ave.,  Detroit 

Lloyd,  Bertha,  piano  95  Watson  st,  Detroit 

Lloyd,  Ethel,  piano  95  Watson  st.,  Detroit 

Luderer,  Wm.,  violin    Conservatory  of  Music,  Detroit 

Luderer,  Mrs.  Wm.,  vocal  ;  573  4th  ave.,  Detroit 

Madden,  Eliza,  piano  499  15th  st.,  Detroit 

Mallory,  Minnie,  piano  71  W.  Fort  St.,  Detroit 

Marsh,  Florence,  music  in  schools  23  Henry  st.,  Detroit 

Marsh,  Mrs.  Carrie  F.,  composer  4th %ve.,  Detroit 

Mason,  Fannie  S.,  piano,  harmony  351  18th  st.,  Detroit 

Mayers,  Agnes,  piano  Box  79,  Kalamazoo 

Maywood,  Chas.,  piano  Albion 

Mears,  Margaret,  piano  Trenton 

Meurer,  A.,  organ  11  Cleveland  et.,  Detroit 

Mehan,  J.  D.  voice  144  Henry  St.,  Detroit 

Mehan,  Mrs.  J.  D.  voice  144  Henry  St.,  Detroit 

Meier,  Mrs.  Pauline,  piano  276  Randolph  St.,  Detroit 

Mercer,  Rose,  vocal  158  E.  Columbia  st.,  Detroit 

Mclnnes,  Abbie,  vocal  student  Grand  Rapids 

Mcintosh,  Emma,  piano  132  3d  St.,  Detroit 

McNeull,  R.  E.,  piano,  voice  800  Beach  st.,  Flint 

McNeill,  M.  C,  vocalist    Detroit 

McDonald,  Kate,  piano      West  End  P.O.,  Detroit 

McDonald,  Miss  Theo,  music  in  public  schools    .Grand  River  ave.,  Detroit 

McDonald,  Mary,  music  in  public  schools...  West  End 

McDonald,  Grace  A.,  piano  Charlotte 

McMaster,  Jessie,  piano  136  McDougall  ave.,  Detroit 

McMaster  Anna,  piano ....   Clinton 

McMas  er,  Lena,  piano,  Detroit  Con.  of  Music  Detroit 

McEnolly,  Theresa,  piano  247  E.  Port  St.,  Detroit 

McEacheran,  Mary,  piano  631  Trumbull  ave.,  Detroit 

McKay.  Jessie,  piano  467  Lafayette  ave.,  Detroit 

McKerrow,  May  P.,  piano  58  Leverette  st.,  Detroit 

Minier,  A.,  organ  11  Cleveland  st.,  Detroit 

Miller,  J.  A  ,  piano,  voice,  harmony  105  Huron  st.,  Ypsilanti 

Miller,  Albert,  vocal    508  Cass  ave.,  Detroit 

Millikin.  H.  A.  violin  Fenton 

Mills,  Florence,  piano  ;  346  Cass  ave.,  Detroit 

Mills,  Vesta,  piano    Saline 

Milspaugh,  Lizzie  M.,  voice  213  North  st.,  Ypsilanti 

Moore,  Josie,  piano    845  3d  St.,  Detroit 

Moore,  Carrie  B.,  piano  Greenville 

Moye,  Alma  B,  piano  .•  iSaginaw 

Moses,  Fannie,  piano  2118  3d  ave.,  Detroit 

Morrison,  Lily,  vocal  106  E.  Adams  ave.,  Detroit 

Mortlock,  Florence  25  Bradley  st.,  Detroit 

Mo  wry.  May  E.,  vocal  ,  55  Adelaide  St.,  Detroit 

Mulheron,  Agnes,  piano  73  E.  High  st.,  Detroit 

Mulliken,  Fannie,  piano   800  2d  ave.,  Detroit 

Murray,  Florence,  vocalist  157  Sycamore  st.,  Detroit 

Murrav^,  Mary,  piano  East  Alexandrine  ave.,  Detroit 

Murray,  Mildred,  piano  Forest  ave.,  Ypsilanti 

Muzzle,  Abbie,  piano  Romeo 

Neston,  May  E.,  voice  477  16th  St.,  Detroit 

Newman,  J.  S.,  organ  Romeo 

Ney,  Marion  B  ,  music  St.  Johns 

Northrop,  Bertha,  vocal  30  E.  High  st.,  Detroit 

Norton,  Mrs.  Ida,  voice,  Detroit  Con.  of  Music  Detroit 

Nostizt,  Theresiavon,  piano  640  E.  Congress  st.,  Detroit 

Nykerk,  John  B.,  voice,  harmony  Holland  City 

Orr,  Mary  L.,  harp  38  E.  Alexandrine  St.,  Detroit 


MEMBERS. 


237 


O'Donnoaghue,  Mary,  piano,  organ..  532  Cherry  st.,  Grand  Kapids 

Partridge,  LulaM.,  piano  T.  627  3d  ave.,  Detroit 

Patrick,  M.,  piano  102  Bagg  gt.,  Detroit 

Palmer,  Harry  19  W.  Montcalm  et.,  Detroit 

Palmer,  ElvaE.,  vocal  Grand  River  ave .  P.  O.  Detroit 

Pearson,  Jno  M.,  piano,  organ,  violin  800  Beach  st.,  Flint 

Patterson,  MrB.  A.  M.  vocalist  51  Sycamore  et.,  Detroit 

Patterson,  Libbie,  voice  51  Sycamore  8t.,  Detroit 

Pease,  Frederick  H.,  voice,  singing,  Detroit  Con.  of  Music   .  Yysilauti 

Pease,  -Jessie  L.,  piano  119  Washington  st.,  Ypsilanti 

Pease,  Mrs.  Frederick  H.,  voice,  piano   ...Ypsilanti 

Perry,  Misa  B.  M  164  Perry  st.,  Detroit 

Peters,  Albert,  vocalist  386  Trumbull  ave.,  Detroit 

Petsch,  Maggie,  piano  St.  Johns 

Pettee,  Harry  H.,  voice    75  Bagg  St.,  Detroit 

Pittman,  Mrs.  Sarah  E.,  piano  Detroit  Con.  of  Music,  Detroit 

Potter,  Grace,  vocal  ;  52  Riquette  ave.,  Detroit 

Potter,  Amelia,  vocal  Detroit 

Porter,  George  F  683  12th  st.,  Detroit 

Porter,  May  E.,  piano,  Detroit  Con.  of  Masic  Detroit 

Pope,  Pauline,  piano,  Detroit  Con.  of  Music  Detroit 

Post,  H ,  C . ,  piano  Grand  Rapids 

Pevsners,  Edward  L.,  piano  Broneon 

Pomeroy,  Wm.  F.,  vocalist  Holly 

Phelps,  La  Vene  E.,  piano   767  Wealthy  ave.,  Grand  Rapids 

Phelps,  Louisa,  organist  Tecumseh 

Piatt,  Chas.  E.,  piano,  harmony,  Detroit  Con.  of  Music  Detroit 

Plovire,  Mrs.  Geo.,  piano  Sand  Beach 

Preatlss,  Mary  E.,  piano    83  Pitcher  st.,  Detroit 

Prentisf",  Mrs.  S  83  Pitcher  st.,  Detroit 

Price,  Mrs.  G.  S   St.  Johns 

Puhl,  Mrs.  M.  W.,  piano  538  St.  Aubinave.,  Detroit 

Putnam,  Ruth  S.,  piano  314  Forest  ave.,  Ypsilanti 

Racicot,  H.  C,  vocalist   305  Crogan  st.,  Detroit 

Radcliff,  Frederica,  vocal  42  Howard  st.,  Detroit 

Ramm,  Fritz,  zither   208  E.  Congress  st.,  Detroit 

Raymond,  Lillian,  piano  394  24th  st.,  Detroit 

Reed,  Edith  M.,  piano,  organist  39  Hudson  st.,  Coldwater 

Rector,  E.  M.,  piano  212  Woodward  ave.,  Detroit 

Reishrath,  Louisa,  vocal  187  Grand  River  ave.,  Detroit 

Renwick,  Edward  T.,  voice  Sword  ave.,  Detroit 

Renwick,  ^eo.  W.,  music  in  schools  161  Terrace  St.,  Muskegon 

Reynolds,  Mattie  A.,  violin  Albion 

Reynolds,  Hattie,  violin,  piano...  Albion 

Ruthtufif,  Hattie,  music  in  schools  Grand  River  P.  O.,  Detroit 

Ripley,  Agnes  M.,  piano  Alpena 

Rice,  Wm.  B.,  piano  74  Beach  st.,  Detroit 

Rice,  Etta  M.,  piano  91  Watson  st.,  Detroit 

Roberts,  Mary  G.,  piano  561  Mullett  st.,  Detroit 

Robinson,  Mrs.  Fred  A.,  vocal  556  Cass  ave.,  Detroit 

Robinson, Etta,  vocal  Battle  Creek 

Roe,  Frances,  piano  Clarkston 

Roe,  Minnie  G.,  piano  519  W.  Wilkins  ave.,  Jackson 

Roehl,  Clotilde  602  E.  Congress  et.,  Detroit 

Rohrabacher,  Edith,  piano  Lainsbnrg 

Root,  Cora  I.,  piano,  vocal,  harmony  Somerset 

Root,  Jennie  C,  piano,  organist  Tecumseh 

Rowley,  Helen  M.,  violin,  piano    Romeo 

Rupp,  B.  H.,  piano  93  W.  Maumee  st.,  Adrian 

Ryan,  Madge,  piano  45  Piquette  ave.,  Detroit 

Sanger,  Cora,  piano  234  E.  Woodbridge  St.,  Detroit 

Sawyer,  Mrs.  M.  P.,  piano,  voice  Trenton 

Schnoor,  Eugenia,  piano   . .  .New  Baltimore 

Scofield,  J.  C,  singing  65  Beaubien  st.,  Detroit 

Scheffler,  C.  B.,  piano,  harmony  Albion 

Schultz,  L.  F.,  violin  87  E.  Columbia  st.,  Detroit 

Scott,  James,  violin  324  4th  st.,  Detroit 

Scrimger,  May  318  Campau,  Detroit 

Scrimger,  Mina,  piano  318  Campau,  Detroit 

Sessions,  Julia,  music  in  schools  1010  South  West  st.,  Kalamazoo 

Seyler,  Julius  V..  piano,  Detroit  Con.  of  Music  Detroit 

Seymour,  Kate,  piano  UN.  State  st.,  Ann  Arbor 

Sevvall,  E.G.,  piano  72  E.  Alexandria  ave.,  Detroit 

Shepard,  Mrs.  H.  N.,  piano   66  Sibley  et.,  Detroit 

Shute,  Bessie,  voice  ,,,  175  Willis  ave.,  Detroit 


288 


MUSIC  teachers'  national  association. 


Sickler,  Anna  A.,  piano  ,  116  W.  High  et.,  Detroit 

Shank,  Mrs.  Ella  W.,  violin  110  Allegan  St.,  Lansing 

Silk,  Mrs.  A.  E.  pianist  Washtenaw  St.,  Lansing 

Shick,  Alice  G.,  piano  Owoso 

Skinner,  Kate,  piano  58  W.  Elizabeth  st.,  Detroit 

Skinner,  Hattie,  piano  58  W.  Elizabeth  st.,  Detroit 

Sherwood,  Helen,  piano    Plymouth 

Simonds,  J.  K.,  piano,  harmony  Pontiac 

Simonds,  Mrs.  J.  H.,  voice  Pontiac 

Smart,  Minnie  E.,  school  of  music  Mt.  Clemens 

Smart,  Lilla  Grace,  piano,  harmony  703  Detroit  St.,  Flint 

Smith,  Florence,  piano  Almont 

Smith,  Marion,  piano  55  Washtenaw  st  ,  Ann  Arbor 

Smith,  Ella,  piano  Clinton 

Smith,  E.  May,  piano,  organ   Charlotte 

Smith,  Alice,  piano.  91  Onellette  ave.,  Detroit 

Smith,  Emma,  piano   90  E.  High  st.,  Detroit 

Smith,  Inez  E  .,  piano,  voice  25  Harper  ave.,  Detroit 

Smith,  Mrs.  Dwight  S.,  piano  Jackson 

Snyder,  W.  E.,  piano  583  17th  St.,  Detroit 

Spencer,  H.  P.,  Detroit 

Speil,  Emil,  flute  Detroit  Con.  of  Music,  Detroit 

Springer,  Abbie,  organist  468  Putnam  ave.,  Detroit 

Standart,  Mrs.  N.  K.,  vocal  158  Lincoln  ave.,  Detroit 

Stansbnrj'.  Margaret,  piano  Detroit  Con.  of  Music,  Detroit 

Stafford.  Mintie,  piano  Port  Hope 

Stafford,  Franc s  A.,  musician   Port  Hope 

Stevens.  Charles  B.,  voice  Whitney  Building,  Detroit 

Stephenson.  Marie,  pianist  Main  st.  Lansing 

St.  John,  Mrs  J.  S.,  voice  515  Commonwealth  Ave.,  Detroit 

St,  John,  Marv,  voice  ,  Dtica 

Southall.  Miss  J .  M . ,  vocal  Detroit 

Stoddard,  Mrs.  Nellie  S.,  voice  336  3d  St.,  Detroit 

SK)ddard,  Lillie  Lee,  piano  and  organ  Aspen 

Stoddard,  Jennie  M..  vocal  336  3dst.,  Detroit 

Stone,  Mary,  music  74  W.  Adams  ave.,  Detroit 

Stoner,  Mrs.  L.  J.  K..  piano  Fen  ton 

Stone,  Mrs  Dwight  Y .,  piano  230  Stone  Terrace,  Flint 

Stridiron,  Miss  B.  S.,  piano  170  McDougall  St.,  Detroit 

Strop,  Anna,  piano  32  Farnsworth  St.,  Detroit 

Strong,  Frances,  piano  127  Normairgt.,  Ypsilanti 

Sutherland,  Mr; .,  piano   Oscada 

Terril,  Mrs.  B.  E  Muir 

Tackels,  Louise  C.  piano  Romeo 

Thatcher.  Fred.  C,  organist  40  W.  Fort  st.  Detroit 

Thomas,  Mrs.  Emma  A.,  music  in  schools  Detroit  Con.  of  Music,  Detroit 

Thomas,  Amelia  W.,  piano  2-32  2d  ave.,  Detroit 

Thomas,  Minnie,  piano   . .  .9"!  Watson  St.,  Detroit 

Thompson,  Mrs.  L.  F.,  piano  928  Cass  ave.,  Detroit 

Townsend,  Minnie,  piano  Almont 

Thirkell,  Is^ibel.  organ  and  vocal  161  Wayne  st.,  Detroit 

Todd,  Juna, pianist  Grand  St.,  Lansing 

Towne,  Nora,  vocalist   Capital  ave.,  Lansing 

Townsend.  Eila,  piano   Metamora 

Tozer,  Laura,  piano  525  W.  Warren  ave.,  Detroit 

Trowbridge,  Mary  E.,  violin  and  piano  609  Jefferson  ave.,  Detroit 

Treat,  May,  vocal   Bessemer 

Trumbull,  Mrs.  Geo.,  piano  Academy  of  Music.  Detroit 

Tuksbury,  Earl  C,  piano,  43  Cresent  place,  Grand  Rapids 

Turner,  Carrie  1.,  piano,  229  McDougall  ave.,  Detroit 

Turpier,  Eva,  vocalist  . . .   North  St.,  Lansing 

Tuthill,  Erta,  music  in  schools,  74  W.  Adams  st..  Detroit 

Uhl,  Mrs.  E.  F.,  Grand  Rapids 

XTlrich,  Jessie  E.,  music  in  public  schools  Codilae 

Ulrich,  EttaM.,  music  in  public  schools  462  Trumbull  ave.,  Detroit 

ITnsworth,  Louisa,  piano  152  Tremont  St.,  Detroit 

rtley,  Hattie  M..  piano  Salem 

Van  Camp.  Mabel,  voice  71  Brigham  St.,  Detroit 

Van  Buren,  Miss  A.  C,  220  E.  High  st.,  Detroit 

Van  Buren,  Anna,  piano    Con.  of  Music,  Detroit 

Vet,  (\  M.,  Sr.,  violin  Academy  of  Music,  Detroit 

Vet,  Mme,  Mathilde,  piano  Acadtmy  of  Music,  Detroit 

Vet,  C.  M.,  Jr.  piano  and  harmony..   Academy  of  Music,  Detroit 

Vogt,  Ida,  Gnitar  Detroit 

Von  Nostitz,  Theresa,  piano  640  E.  Congress  st.,  Detroit 


MEMBERS. 


239 


Wagner,  Agnes,  piano  Box  74,  Kalamazoo 

Wagner,  Mrs.  J.  L.,  piano  Grand  Ledge 

Walker,  Mrs.  J.  N.  O.,  voice  47  Edmund  place,  Detroit 

Walker,  Henriette,  piano   173  15th  St.,  Detroit 

Walker,  Sophia  E.,  singing  173  15th  st.,  Detroit 

Walker,  Mrs.  W.  K.  pianist  Washington  ave.  Lansing 

Walter,  Margaret,  pianist  Franklin  st.,  Lansing 

Wamsley,  Emma  Marie,  piano  Hillsdale 

Waterman,  Clara,  piano  68  Pitcher  st.,  Detroit 

Webb,  Lizzie,  piano  285  Grand  Kiver  ave,  Detroit 

Webb,  Mrs.  Walter,  piano    Jackson 

Weiss,  George  E.,  clarinet  and  bassoon  85  Sherman  st.,  Detroit 

Webster,  Lillian,  piano   Pontiac 

Wheaton,  Addie,  music  in  schools  15  Beach  St.,  Detroit 

Whitney,  Mrs  A.  A.,  piano   Port  Huron,  Detroit 

Whittemore,  Mrs.  Harry,  vocal    Bay  City 

Whitney,  Mabel,  piano  Traverse  City 

White,  Gaylord  B.,  composition  244  Lafayette  ave.,  Detroit 

White,  Clarissa,  piano  14  West  Adams  ave.,  Detioit 

Whipple,  Mrs.  S.  H.,  vocalist  47  Tuscola  St.,  Detroit 

Wilder,  Susie,  piano     969  3d  st.  Detroit 

Wiley,  Margaret  W  ,  piano   Detroit  Con.  of  Music 

Wiley,  Bertha,  piano  894  Cass  ave,,  Detroit 

Williams,  Louise,  piano   -  Hillsdale 

Williams,  P.  S.  C,  piano  and  harmony  971 16th  st.,  Detroit 

Williams,  Julia  H.,  pianist  Jefferson  ave.,  Detroit 

Willett,  Mrs.  W.  L.,  piano  and  voice  Flint 

Wilson,  Mary  H.,  piano  and  organ  300  Wsst  Fort  st.,  Detroit 

Wilson,  Annie  S.,  voice  and  piano  88  Lafayette  ave.,  Detroit 

Wilson,  Edward,  piano  245  24th  st.,  Detroit 

Wilson,  Mrs.  Edward,  piano  .245  24th  St.,  Detroit 

Wing,  Emma,  piano  Hillsdale 

Wing,  Conrad,  piano  Marine  Citj 

Winship,  Mrs.  B.,  vocal  in  College  4  Clinton  st,,  Adrain 

Widner,  Belle,  piano  and  voice  Wyandotte 

Wiley,  Mary  H.,  organ  and  piano  300  W.  Fort  st.,  Detroit 

Wolcott,  J.  T.,  piano  and  theory   87  Pitcher  st.,  Detroit 

Wolfe,  Margaret  M.,  piano  180  Campau  ave.,  Detroit 

Woodruff,  E.  F.,  voice   Sapeer 

Worden,  Mrs.  A.  L.,  voice  51  Lincoln  ave.,  Detroit 

Worthingtoq^ Jennie  A.,  piano  and  harmony  Albion 

Worth,  Jennie,  piano  Birmingham 

Wortley,  Miss,  voice  Ypsilanti 

Wood,  Florence,  piano  Almont 

Wright,  Harrison,  chorister,.,  158  Lafayette  ave.,  Detroit 

Wright,  Kate,  piano  Utica 

Wright,  Virginia,  vocalist  37  Henry  st.,  Detroit 

Yerkes,  Mrs.  D.  H.,  organist  409  Huron  st.,  Ypsilanti 

Yerkes,  Hattie,  piano  665  Trumbull  ave.,  Detroit 

Yerkel,  Mrs.  N.  D.,  organist,   409  Huron  St.,  Ypsilanti 

York,  F.  L.,  organ  Ann  Arbor 

Young,  Nellie,  piano   110  Barclay  St.,  Grand  Rapids 

Young,  Franz,  piano  37  Wells  ave.,  west,  Detroit 

Young,  Fannie,  piano  W.  Willis  ave.,  Detroit 

Zillioux,  Mrs.  Dora,  violin  Jackson 

MINNESOTA. 

Baldwin,  Samuel  A.,  organ  and  theory  330  W.  3d  st.,  St.  Paul 

Beebe,  A.  A.,  piano  and  harmony  — Heron  Lake 

Crueger,  Paul,  harp,  zither,  and  mandolin,  N.  W.  Con.  of  Music  Minneapolis 

Drill,  Thos,  T.,  voice  511  Nicollet  ave.,  Minneapolis 

Foch,  E.,  piano   322  Nicollet  ave,,  Minneapolis 

Gleason,  Mrs.  H,  W.,  piano  60854  Nicollet  ave.,  Minneapolis 

Hoevel,  Heinrich,  violin.   .511  Nicollet  ave.,  Minneapolis 

Johnson,  Gustavus,  piano  511  Nicollet  ave.,  Minneapolis 

Kryeger,  Paul,  harp,  zither,  mandolin  N.  W.  Con.  of  Music,  Minneapolis 

Lachmund,  Carl  V.,  piano,  composition  and  orchestration,  511  Nicollet  ave.,  Minneapolis 

Mettke,  Mme,  M,  J,,  music  St.  Mary's  Hall,  Faribault 

Mettke,  Hans,  Cello,  piano,  voice  and  harmony  92  E.  3d  st,  St.  Paul 

Morse,  Chas.  H.,  organ,  piano  and  theory  608  Nicollet  ave.,  Minneapolis 

Raymond,  M.  W.,  piano  and  history  St.  Mary's  Hall,  Faribault 

Stempf,  Richard,  piano  and  voice    511  Nicollet  ave,,  Minneapolis 

Strong,  Katharine  M.,  Music  Albert  Lee  College,  Albert  Lee 

Zoch,  H.  E.,  piano,  223  Nicollet  ave.,  Minneapolis 


240 


MUSIC  TEACHEES'  NATIONAL  ASSOCIATION. 


MISSOURI. 

Brainard,  Mrs.  Kate  J.,  vocal  music  Mary  Institute,  St.  Louis 

Busch,  Carl,  violin,  harmony,  etc    Y.  M.  C.  A.  Building,  Kansas  City 

Chase,  Eunice  L.,  piano  4718  Broadway,  St.  Louis 

Epstein,  A.  I.,  piano  •.   2214  Lucas  place,  St.  Louis 

Epstein,  M.  I.,  piano  and  composition  ..2214  Lucas  place,  St.  Louis 

Epstein,  Herman,  piano  2214  Lucas  place,  St.  Louis 

Fisher,  Mrs.  G.  A.,  piano  .2009  S.  Compcon  ave.,  St.  Louis 

Flinn,  F.  M.  H.,  piano  and  voice  .830  Center  st.,  St.  Louis 

Foote,  Annie  C,  piano   1814  Olive  st,  St.  Louis 

Freligh,  Louis  H  ,  piano,  organ,  voice  and  harmony  3038  Magazine  st.,  St.  Louis 

Freligh,  Mrs.  Louis  H.,  3038  Magazine  St.,  St.  Louis 

Gilsinn,  M.  A.,  piano  and  organ  3855  Bell  ave.,  St.  Louis 

Hengy,  Eva,  vocal  music  Holden 

Humphreys,  Chas.,  piano  and  voice  2214  Lucas  place,  St.  Louis 

Kilcullen,  Kate,  piano  2619  St.  Louis  ave.,  St.  Louis 

Kroeger,  Julia  B.,  music  3315  Laclede,  ave.,  St.  Louis 

Hoodie,  James,  violin    630  Forrest  ave.,  Kansas  City 

Newland,  Mrs.  A.  F.,  piano  and  harmony  3335  Laclede  ave.,  St.  Louis 

Ralston,  Mrs.  Lucy  B.,  piano  and  harmony  3431  Lucas  ave.,  St.  Louis 

Runice,  Mrs.  Constance  F.,  composition    17th  and  Farron  st.,  St.  Joseph 

Schultz,  H.  E.,  piano  and  violin  506  Y.  M.  C.  A.  Building,  Kansas  City 

Strong,  Nellie  C,  piano  1003  Garrison  ave.,  St.  Louis 

"Woodward,  Anne  F.,  music    3731  W.  25th  st,  St.  Louis 

Wright,  Kate  E.,  piano  and  voice.  3404  Franklin  ave.,  St  Louis 

MISSISSIPPI. 

Barhe,  N.  A.,  violin,  piano  and  harmony  Verona 

MONTANA. 

McMillan,  Mrs.  Emily,  piano  and  organ   Deer  Lodge 

NEBRASKA. 

Miller,  J.  C,  music  in  public  schools   Lincoln 

Knopfel,  Gustavus  C,  piano,  organ  and  singing  1613  Dodge  st.  Omaha 

Wallace,  Margaret  E.,  piano  — Brownell  Hall,  Omaha 

NEVADA.  ♦ 

Layton,  Mrs.  L.  A.,  vocal  and  instrumental  Virginia  City 

Quaiffe,  Mary  Eva,  piano,  voice  and  composition  Bishop  Whitehouse  School,  Reno 

NEW  HAMPSHIRE. 

Baldwin,  E.  T.,  piano  and  organ  P.  O  Building,  Manchester 

Melendy,  Anna  L.,  piano  213  Main  st,  Nashua 

Temple,  Edward  M.,  vocalist   Nashua 

NEW  JERSEY. 

Allstrom,  Harold  K.,  piano,  organ  and  theory    Red  Bank 

Belcher,  Kate  H.  Park  Hotel,  Orange 

Baker,  Miss  L.  B.,  piano   27  Evergreen  place,  East  Orange 

Bradshaw,  Mary  S.  piano  37  Ridge  st..  Orange 

Carrington,  Laura  E.,  piano  26  Burnet  st,  East  Orange 

Feiel,  Henry,  music   21  Bank  st,  Newark 

Fithian,  P.  G,,  piano,  organ,  voice  and  theory  405  Linden  st,  Camden 

Harding,  Henry,  voice,  piano  and  harmony  ,  Freehold 

Hutchings,  Corinda,  piano  22  Essex  ave.  Orange 

Hyde,  D.  W.,  pi. -ino  and  harmony   Netherwood 

Koons,  Clara,  piano  and  voice  Box  318,  Lambertville 

Leonard,  Joseph  H.,  Pres.  P.  T.  S.  S.,  conductor   lona 

Mason,  William,  piano   Orange 

Moerscher,  Wm.,  string,  reed  and  brass  instruments  Belvidere 

Miller,  E.  Presson,  piano  organ  and  theory  202  High  st'  Millville 

Olney,  Edith,  piano  Hamilton 

Povey,  Grace  A.,  piano  367  Tompkins  ave.,  Brooklyn 

Roeder,  Adolph,  piano  and  vocal   735  Landis  ave.,  Vineland 

Schilling,  Fred,  piano,  organ  and  harmony    East  Orange 


MEMBERS. 


241 


Seward,  Theodore  F.,  piano,  organ,  singing  and  harmony  East  Orange 

Young,  EffieE.,  violin  and  piano    43  Parkst.,  Orange 

Van  Wagner,  J.,  piano,  organ  and  harmony  New  Milford 

NEW  YORK. 

Abercrombie,  Chas.,  singing  and  vocalist  71i  Power's  Block,  Rochester 

Agramonte,  Emilio,  voice  118  E.  17th  st..  New  York  City 

Babcock,  Hannah  A.,  piano,  organ  and  harmony,  9th  ave.  and  34th  st.,  

 Ins  t  for  the  Blind,  New  York  City 

Bailie,  Virginia,  piano  New  York  City 

Bergstrom,  Karl  G.,  piano  10  E.  16th  St.,  New  York  City 

Bartlett,  Homer  H.,  236  W.  i32d  St.,  New  York  City 

Brinkerhoff,  Mme.  Clara,  voice...  219  E.  18th  st.,  New  York  City 

Bowman,  E.  M.,  piano,  organ  and  theory  Steinway  Hall,  New  York  City 

Brotherhood,  J.,  piano   6  W.  14th  st.,  New  York  City 

Brewer,  Jno.  Hyatt,  piano,  organ,  vocal  and  composition  49  S.  Oxford  st.,  Brooklyn 

Brown,  Mme.  Marie  Lovell,  piano  ;  Chickering  Hall,  New  York  City 

Cappiani,  Mme.  Luisa,  vocal  culture  217  2nd  St.,  New  York  City 

Crandell,  F.  W.,  piano  and  theory  66  Hanson  place,  Brooklyn 

Crawford,  Rebekah,  piano  28  First  place,  Brooklyn 

De  Enger,  W.  Walter,  vocal  719  Power's  Block,  Rochester 

Dickinson,  Mrs.  Isaac,  piano,  organ,  voice  and  harmony  Utica 

During,  Chas.  A.  A.,  piano  123  W,  41st.,  New  York  City 

Eberhard,  Dr.  Ernest,  director   Grand  Con.  of  Music,  16  E.23d  St.,  New  York  City 

Brnesti,  Titus  D.,  piano  and  composer  253  E.  73d  st..  New  York  City 

Everest,  Eleanor  Warren,  voice  128  E.  17th  St..  New  York  City 

Paber,  Mrs,  Alice,  piano  and  singing  3  and  4  Hay  ward  Building,  Rochester 

Greene,  O.  R.,  piano  and  voice,  music  in  schools    194  Main  st.,  Cohoes 

Greene,  George  F.,  music  in  public  schools  650  Fulton  st ,  Troy 

Hall,  Walter  J.,  piano  Steinway  Hall,  E.  14th  st..  New  York  City 

Harcourt,  Mrs,  Holmes,  piano  224  W.  38th.  st..  New  York  City 

Hard,  Elvira,  piano  Mt.  Hope  Tremont,  New  York  City 

Jeremiah,  John  A.,  vocal  215  W.  11th  st.,  New  York  City 

Kelsey,  David  McClellan,  music  in  schools,  voice,  director,  29  York  ave.,  Saratoga  Springs 

Leggett,  Katherine  D.,  piano  ,  96  Jamaica  ave..  Flushing 

Lord,  Emma  A.,  mnsic  319  Saint  Mark's  place,  Brooklyn 

Lombard,  Louis,  violin,  soloist,  composer,  critic  and  director  Con.  of  Music,  Utica 

Mac  Farlane,  Will  C,  organist  68  W.  93d  st.,  New  York  City 

Mc  Glashan,  EllaR.,  piano,  organ  and  theory  84  Ontario  St..  Lockport 

Memmler,  Herman,  piano,  organ,  violin  and  harmony...,  177  E  .  79th  St.,  New  York  City 

Moore,  Edwin,  piano,  singing  and  theory  ,  159Woodworth  ave.,  Yonkers 

Moss,  Mary  A.,  piano  138  Lander  St.,  Newburgh 

Muller,  C.  C,  harmony,  composition   Steinway  Hall,  New  York  City 

Myer,  Edmund  J .,  voice   36  E .  23rd  st . ,  New  York  City 

Parker,  Geo.  A.,  piano,  violin  and  singing  Syracuse  LTniversity,  Syracuse 

Parsons,  Mrs.  A.  R.,   Garden  City 

Parsons,  Herbert  S.,  ,  Garden  City 

Penfield,  Dr.  S.  N.,  piano,  organ  and  theory  260  W.  57th  St.,  New  York  City 

Pettit,  Geo.  W.,  piano,  music  in  schools  788  Broadway,  New  York  City 

Phelps,  E.  C,  piano,  voice  and  composition    24  Green  ave.,  Brooklyn 

Povey,  Grace  A.,  piano   367  Tompkins  ave.,  Brooklyn 

Pratt,  S.  G.,  piano  and  composition  107  W.  114th  st..  New  York  City 

Raff,  Joseph,  piano  and  harmony  43  Henry  st.,  Binghampton 

Robinson,  Miss  M.,  piano  Long  Island,  Newtown 

Russell,  Louis  Arthur,  music  21  E.  14th  St.,  New  York  City 

Salter,  Sumner,  piano,  organ,  voice  and  theory  17  E.  16th  St.,  New  York  City 

Taber,  Mrs.  Alice,  piano  and  singing  374  Hay  ward  Building,  Rochester 

Thatcher,  S.  N.,  piano  tuner  245  Chenango  st.,  Binghamton 

Vining,  H.  Sheibrook,  music  journalist  189  Sixth  ave.,  Brooklyn 

Virgil,  A.  K.,  piano   ISE.  17th st..  New  York  City 

Virgil,  Mrs.  A.  K.,  piano  1?  E.  17th  St.,  New  York  City 

Volker,  James  A.,  piano,  violin  and  singing   .32  Ellis  place,  Sing  Sing 

Von  der  Heide,  J.  F.,  piano,  voice  and  theory  Steinway  Hall,  New  York  City 

Wilder,  Nellie  A.,  piano,  organ,  banjo  and  guitar  360  Central  ave.,  Rochester 

Wilkins,  Herve  D.,  piano,  organ  and  singing.  24  S.  Goodman  st.,  Rochester 

Wodell,  Fred  W.,  vocalist  34  Glasgow  st.,  Rochester 

Woodman,  R.  Huntington,  organ,  piano  and  theory  364  Pacffic  st.,  Brooklyn 

NORTH  CAROLINA. 


Backbinder,  Mitchell,  pjano,  organ  and  harmony  

Neave,  W.  H.,  piano,  organ,  voice,  violin,  flute  and  cornet 


Charlotte 
Salisbury 


242' 


MUSIC  teachers'  national  association. 


NORTH  DAKOTA. 

Hodge,  Geo.  B.,  vocal   State  University,  Grand  Forks 

Hodge,  Mrs,  Geo.  B.,  voice  Grand  Forks 

Klapp,  Mrs.  Frederic,  piano  Jamestown 

Phillips,  Frances,  piano —  Fargo 

OHIO. 

Andrews,  Geo.  W.,  organ  and  composition  10  Forest  St.,  Oberlin 

Arens,  Franz  X.,  piano,  voice,  theory  and  composition  44  Euclid  ave.,  Cleveland 

Bacon,  N.  B.,  voice  and  harmony  12  Walnut  St.,  Oberlin 

Bauer.  Minnie  L..  piano  and  organ  Hartville 

Beck,  Johann  H.,  violin,  theory  and  composition   186  Ohio  st.,  Cleveland 

Beebe,  Mrs.  W.  A.,  singing  46  College  ave.,  Woster 

Blake,  Thaleon  Geo,,  musician   Sidney 

Blum,  Laura  E.,  piano  ,   ,.  .,   59  W.  5th  St.,  Csmton 

Blumeuschein,  W.  L.,  Con.  of  Music,  Dayton 

Brown,  Florence,  piano   Oberlin 

Buchanan,  George  D.,  music  in  public  schools  Sidney 

Buel,  Berta,  piano  Malvern 

Colson,  W.  B.,  Jr.,  piano  and  organ  106  Euclid  ave.,  Cleveland 

Comstock,  Oscar  Franklin,  piauo  and  theory  44  Euclid  ave.,  Cleveland 

Cushing,  S.  D.,...  Toledo 

Davock,  Harriet,  piano  and  harmony —   481  Prospect  St.,  Cleveland 

Demuth,  J' )hu  Arthur,  violin  and  wind  instruments  8  So.  Pleasant  St.,  Cleveland 

Doeraer,  Armin,  piano  College  of  Music,  Cincinnati 

Doolittle,  Ada  S.,  piano,  organ  and  harmony  PoneeB 

Droge,  Max,  piano,  vocal  and  violoncello  44  Euclid  ave.,  Cleveland 

Evans,  Annie,  piano    Bolivar 

Farnum,  H.  O.,  organ,  piano,  twinging  and  tiieory  176  E.  High  st.,  Springfield 

Farnum,  Mrs.  H.  O.,  mus^ical  journalist  176  E.  Highst.,  Springfield 

Graler,  A.T.,  piano  and  voice  Supt.  of  Schools,  Navarre 

Grimm,  C.  W.,  piano,  organ  and  theory  18  South  st.,  Zanesville 

Harding,  S.  C,  music  in  public  schnols  Oberlin 

Harmon,  Mrs.  EmelineE.  piano  and  voice  Prospect  st.,  Ashtabula 

Hargravc,  W.  H.  J.,  organist   N.  E.  cor.  14th  and  Race  sts.,  Cincinnati 

Harvey,  Kate  E . ,  music  in  public  schools  283  E .  9th  st . ,  Canton 

Halter,  Mary  T.,  piano  and  organ    Waynesburg 

Haynes,  Hattie,  piano  W.  Bloom  st.,  Mansfield 

Hetlick.  Elizabeth,  vocalist  260  Findley  st.,  Cincinnati 

Hicks,  Fred  I.,  violin,  piano  and  theory  87  Arlington  St.,  Cleveland 

Hill,  Ethel,  piano   Montpelier 

Eolron,  J.  W.,  piano  and  singing  4  E.  Lorain  St.,  Oberlin 

Huber,  Wm.,  Jr.,  piano,  organ,  theory  and  harmony  350  High  st.,  Hamilton 

Jackraan,  Olive,  piano  and  organ  Canton 

Johnson,  Mrs.  Chapman,  piano  Avondale,  Cincinnati 

Johnson,  H.  H.,  music  in  public  school  Sidney 

Kail mer ten,  Mrs.  Fred.,  music  Sturges  ave.,  Mansfield 

Lavin,  Sarah,  voice   .70  Feather  st..  Canton 

Lea-vitt,  Doratha,  piano  Warren 

Lind,  Ertson  S.,  piano,  organ  and  voice  18  E.  North  st.,  Canton 

Locke,  Elisha,  vocal  and  instrumental  Riddle  Road,  Clifton  Hights,  Cincinnati 

Lott,  W.  H  Colnmbus 

Martin,  Anna  L.,  piano  447  Crittenden  ave.,  Toledo 

Mathias,  L.,  piano  and  violin,  music  in  schools  117  Summit  st.,  Toledo 

Marsteller,  Herman  G.,  violin  Dayton 

Mattoon,  Edward  S.,  piano  and  theory  28  Mc  Mill  en  ave.,  Columbus 

Miller,  John,  piano  113  E.  Highst.,  Springfield 

Miller,  Marie,  piano  113  E.  High  st..  Springfield 

Miller,  Dr.  John  M  113  E.  High  st„  Springfield 

Myers,  Gertrude  E.,  guitar,  Canton 

MerK,  Bessie  C,  piano  Wooster 

Pontius,  W.  H.,  voice,  theory  and  director  128  W.  Sdst.,  Mansfield 

Rogers,  James  H,,  piano  106  Euclid  ave.,  Cleveland 

Raynolds,  A.  C,  guitar   Canton 

Sbeling,  Hermann,  piano,  organ,  violin  and  harmony  320  Oak  St.,  Columbus 

Schaeffier,  Gertie,  piano  Canton 

Schafer,  Laura  L.,  piano  Piqua 

Schones.  Emma,  ,  Lafayette 

Smith,  Wilson  G.,  singing,  piano  and  composition  55  Euclid  ave.,  Cleveland 

Smith.  Mrs.  Wilson  G.,  158  Taylor  St.,  Cleveland 

Sommer,  Chas.  G.,  piano  and  composition  1046  Woodland  ave.,  Cleveland 

Sotz,  John  D.,  piano  and  organ  S32  S.  Front  st.,  Hamilton 

Stewart,  N.  Coe,  voice,  public  school  1364  Euclid  ave.,  Cleveland 

Vignos,  Blanche,  piano  Canton 


MEMBERS. 


248 


Van  Cleve,  John  S.,  piano,  voice  and  theory,  7  King's  Terrace,  Mt.  Auburn,  Cincinnati 

Wolfram,  Claus,  piano  704  E.  Market  St.,  Akron 

Wolfram,  Johannes,  piano,  organ  «nd  theory  Canton 

Wolfram,  Theo.,  organ  Columbus 

Wolforth,  Louise,  piano  N,  Diamond  st.,  Mansfield 

OREGON. 

Cook,  Eben,  piano,  singing  and  harmony  Portland 

Preidenrich,  S.  music  Portland 

Loomis,  Ellen  A.,  piano  and  organ    Roseburg 

PENNSYLVANIA. 

Allen,  Geo.,  Jr.,  violin  and  violoncello  3300  Hamilton  st.,  Philadelphia 

Arnold,  J.  C,  violin,  harmony,  music  in  schools  219  W.  Wheeling  st.,  Washington 

Atwttter,  Frank  W.,  music  ,  Edinboro 

Bausmann,  Walter,  piano  and  singing  Lancaster 

Backmann,  Alexander,  piano,  organ  and  violin  ;.1327  N.  18th  st.,  Philadelphia 

Borst,  A  ,  piano,  organ  and  theory  3602  Hamilton  St..  Philadelphia 

a'Becket,  Thos.  piano  and  theory  1541  N.  19th  st.,  Philadelphia 

Birchard,  Geo.  G.,  voice  Cambridge 

Birchard,  Irene,  music  in  schools   Cftmbridgeboio 

Brierley,  Geo.  F.,  voice  1014  Chestnut  St.,  Erie 

Carter,  Chas.  Davis,  piano,  voice  and  composition  Bisssell  Block,  Pittsburg 

Chandler,  Kate  H.,  prin.  of  Phil,  schools  of  music  1511  Girard  ave.,  Philadelphia 

Dutton,  Wm.  D  1115  Chestnut  st.,  Philadelphia 

Eldridge,  Lucile,  violin  and  theory  420  Penn  ave.,  Pittsburgh 

Fisher,  Geo.  L.,  piano  and  organ  Middletown 

Foerster,  Mrs.  Ad.  M„  piano  4213  Fifth  ave.,  Pittsburgh 

Galentin,  Bertha,  vocal  Ursuline  Academy,  Pittsburgh 

Geuth,  Emma  E.,  piano  3937  Locust  st.,  Philadelphia 

Gilchrist,  Wm.  W.,  piano  and  composition.  .5014  Wayne  ave.,  Germantown,  Philadelphia 

Gettings,  J.  H.,  P.  O.  Box  523,  Pittsburgh 

Haigiit,  Irma,  piano  and  voice  Blairsville,  Allegheny 

Hill,  E.  H.,  piano  and  theory  Sugar  Grove 

Hollinsworth,  Kate  F.,  piaijo  and  theory  327  N.  33nd  St.,  Philadelphia 

Jarvis,  Chas.  H  ,  3738  Locust  st.,  Philadelphia 

Knauss,  Chas.  E.,  piano  and  organ  815  Ferry  st.,  Easton 

Landon,  Chas.  W.,  journalist  1704  Chestnut  St.,  Philadelphia 

Landon,  Mrs.  Chas.  W.,  journalist  1704  Chestnut  st.,  Philadelphia 

Livealy,  Jno.,  W.  H.,  piano  and  organ  ..   516  Dickinson  st.,  Philadelphia 

Law,  Frederick  S.,  voice  and  piano   ,  1121  Spruce  st.,  Philadelphia 

Maxson,  Frederick,  piano,  organ  and  singing  1802  Fairmount  ave,,  Philadelphia 

Mettke,  Hans,  piano,  voice,  organ,  cello  and  harmony  1528  Market  st.,  Philadelphia 

Moore,  Nena,  musician  112  W.  4th  st.,  Erie 

Morris,  Susan  M.,  voice  and  piano  Fort  Washington 

Olhmler,  Leo,  violin,  piano  and  theory  245  Charliers  st.,  Allegheny 

Pendleton,  H.  H.  singing,  piano  and  organ  2211  Jefferson  st.,  Philadelphia 

Pfahler,  Lillian  K.,  piano  and  organ  138  Locust  St.,  Columbia 

Richard,  J.  piano  and  theory  ■  1617 Spruce  st.,  Philadelphia 

Ritter,  Albert  A.,  piano,  organ  and  harmony  2-32  Pern  st.,  Reading 

Schmitz,  Miss  H.  M.,  piano  3104  Baring  st.,  Philadelphia 

Schaeberle,  J.  P.,  piano  and  violin  Linden  Hall  Sem.,  Lititz 

Sehmler,  Clara,  piano   245  Chartiers  st.,  Allegheny 

Soth  worth,  E.  E.,  piano,  organ  and  voice   Ill  Lackawana  ave..  Scran  ton 

Smith,  EmmaM.,  piano  3309  Penn  ave.,  Pittsburgh 

Sower,  Sarah  C,  piano,  organ  aud  theory  1617  Spruce  St.,  Philadelphia 

Sower,  Frederick  C,  piano  and  singing  1617  Spruce  st.,  Philadelphia 

Stankowitch,  Anthony,  piano  and  theory  1416  Chestnut  st.,  Philadelphia 

Sternberg,  Constantin,  pianist  Philadelphia 

Sternberg,  Mrs.  Constantin,  vocal    Philadelphia 

Van  Gelder,  Martin,  piano  and  violin  521  N.  19th  st..  Philadelphia 

Vozel,  Agnes,  singing  Whittier  st.,  Pittsburgh 

Wilt,  H.  C  210  S.  37th  at.,  Philadelphia 

WolsieflEer,  Wm.,  piano,  organ,  violin  and  singing,  1726  Atlantic  st.,  Tioga,  Philadelphia 

Wolff,  S.  A.,  piano  Gettysburg 

Zimmerman,  E.  M.,  vocal   1509  Mt.  Vernon  st.,  Philadelphia 

RHODE  ISLAND. 

Bonner,  Robt.,  piano,  organ  and  harmony  60  Williams  st.,  Providence 

Chaffin,  Mrs.  Sarah  S.,    113  Bowen  St.,  Providence 

Farmer,  Sarah  M,,  singing  in  public  sehools,   14  Claverick  st..  Providence 

Jordan,  Jules,  singing  54  Broadway,  Providence 


244 


MUSIC  teachers'  national  association. 


Lamas,  Geo.  H.,  piano,  organ  and  theory  5  Depot  st.,  Pawtucket 

Leclerc,  Brnest,  piano  and  organ    Manville 

Macdougall,  H.  C,  34  Summer  St.,  Providence 

Meyera,  P.  J.,  piano  and  voice  38  Pelham  at.,  Newport 

Wilber,  Newell  u.,  piano,  organ  and  harmony  37  Dndley  St.,  Proridence 


SOUTH  CAROLINA. 

Brockman,  Emeat,  Colnmblft 

TENNESEE. 

Tobey,  Mrs.  E.  T.,  piano  S30  ManasBee  at.,  Memphis 

Tradeau,  Martha,  piano    S9  Driver  st.,  Memphis 

TEXAS. 

Butte,  M.  Albertine,  voice  and  piano  Mary  Allen  Seminary,  Crockett 

Broussard,  Elsie,  piano  —  Broadway  near  16th  et.,  Galveston 

Clark,  Horace,  Jr.,  piano  and  theory..     Corpus  Christi 

HayxQcnd,  Mrs.  Joseph,  piano,  voice  and  theory  Belton 

Thikenloopn,  Mrs.  L  L.,  Avenue  K  and  24th  St.,  Galveston 

Rowe,  Geo.  H.  director  of  music  Baylor  College,  Belton 

Voiers,  Mrs.  G.  W.,  piano  and  theory  Forney 

UTAH. 

Maakin,  John  P.,  vocalist  and  elocutionist  817  E.  4th  st.  South,  Salt  Lake  City 

VERMONT. 

Eddy,  M.  H.,  piano  and  organ  15  Church  et,  St.  Johnsbury 

VIRGINLA.. 

Bryast,  Gilmore  W.,  piano  and  theory  Wesleyan  Female  Institute,  Staunton 

Munday,  Mrs.  Fannie  C,  piano  and  voice  Bank  st,  Suffolk 

Webb,  F.  R.,  piano, organ,  harmony  Virginia  Female  Institute,  Staunton 


WISCONSIN. 

Bach,  P.  M.,  vocal  music  389  24th  st.  Milwaukee 

Blakeslee,  Miss  E.  L.,  vocal  music  in  normal  schools  SOGWiscosin  ave.,  Oskosh 

Fillmore,  John  C,  piano  and  theory  422  Broadway,  Milwaukee 

Olin,  Nora,  voice  and  piano  Waukesha 

Parker,  F.  A.,  piano  and  singing  14  W.  Oilman  et.,  Madison 

Sylvester,  John,  music  462  South  st.,  Appleton 

Sylvester,  Mrs.  John,  vocalist    462  South  et.,  Appleton 

Todd,  Julia  M.,  piano  Grand  ave.,  Flat  23  Belvidere,  Milwaukee 


WASHINGTON. 

Mueller,  F.,  piano,  organ  and  theory  Seattle 

Potom,  MaryL.,  concert  pianist  Hotel  Rainier,  Seattle 


WEST  VIRGINIA. 

Church,  Mrs.  M.  L.,    1208  Ann  st,  Parkersburg 

Peyton.  Sallie,  public  schools    Huntington 

Smith,  Mrs.  Kate  A.  piano  303  9th  et.,  Parkersburg- 

Spanganberg,  Dora,  public  schools.,  Huntington 


SPECIAL  PATRONS.— DETROIT. 


Rmeell  A .  Alger, 
Wm.  Aikman,  Jr., 
Mn.  B.  L.  Adams, 
Thomas  Adams, 
Miss  Julia  Allen, 
T.  S.  Anderson, 
Frank  D .  Andrus. 
•George  R.  Angell, 
E.  A.  Armstrong, 

E.  E.  Armstrong, 
H.I.  Armstrong, 
Mrs.  E.  H.  Ashley, 
Allen  W.  Atterbury, 
Miss  Clara  A.  Avery, 
John  H ,  Avery, 
Harry  E .  Avery, 

W.  A.  Avery, 

Mrs.  John  J.  Bagley, 
^ohn  N.  Bagley, 
H.  P.  Baldwin, 
Mrs.  H.  P.  Baldwin, 
H.  P.  Baldwin,  2nd, 
Mrs.  L.  H.  Baldwin, 
Fred  A.  Baker, 
John  Babillion, 
Edwin  S.  Barbour, 
Geo.  H.  Barbour, 
Levi  L.  Barbour, 
Edward  A.  Barnes, 
Mrs .  Kinzie  Bates, 
A.  W.  Beal, 
<:ha8.  F.  Beck, 
Geo.  O.  Begg, 
Mrs.  Eugenia  Bell, 
John  A.  Bell. 
Mrs.  W.  C.  Bennett, 
O.  F.  Berdan, 
P.  A.  Billings, 
Geo.  W.  Biasell, 
Clarence  A.  Black, 

F.  L.  Bliss, 
Charles  Bobzin, 
J^.  B.  Book, 

E.  J,  Booth, 
Allan  Bourn, 
C.  C.  Bowen, 

A.  G.  Boynton, 
Wm.  V.  Brace, 
Geo.  N.  Brady, 
Preston  Brady, 
W.  H.  Brearley, 
Seymour  Brownell, 
Frank  W.  Brown, 
Mrs.  M.  Buckley, 
C.  W.  Burrows, 
Lon  Burt, 

C.  H.  Buhl, 
T.  D.  Buhl, 
Walter  Buhl, 
Charles  Buncher, 

B.  H.  Butler, 
Martin  Butzel, 

Miss  Lizzie  Caldwell, 
Douglass  H .  Campbell, 
L.  P.  Campau, 
Wm.  R.  Candler, 
Mrs.  Z.  Chandler. 


D.  Carter, 
Chas.  W.  Casgrain 
Mrs.  John  Chester, 
W.  J.  Chittenden, 
Mrs.  Chas.  P.  Choate, 
Mrs.  T.  K.  Christie, 
Mrs.  H.  A.  Clark, 

H.  C.  Clark, 
L.  E.  Clark, 

L.  H.  Clement. 
Wm.  C.  Colburn, 
Edwin  F.  Conely, 
D.  Congdon. 
Leartus  Connor, 
D.  M.  Cooper, 

I.  T,  Cowles. 
A.  B.  Cram, 

Mrs,  Frank  Crandell, 
John  B.  Crosby, 
H.  S.  Crawford, 
S.  M.  Cutcheon, 
F.  O.  Davenport, 
Mrs.  B.  M.  Davis, 
Geo.  S.  Davis, 
C.  H.  Dickerson, 
Don  M.  Dickinson, 
Geo.  Dinewall, 
John  C.  Donnelly, 
H.  B.  Doty, 
Adeline  Dowling, 

C.  A.  Ducharme, 
Mrs.  F.  C.  Duncan, 
Mrs.  W.  C.  Duncan, 
John  M.  Dwyer, 
Wm.H.  Dwyer, 

J,  B.  Dyar, 

Theo.  H.  Eaton, 
Frank  W.  Eddy. 
Jas.  L.  Edson, 
Wm.  H.Elliott, 
Chas.  Endicott 
Adolph  Enggass, 
Mrs.  R.  G.  Evans, 

FredE.  Farnsworth, 
Mrs.  D.  O.  Farrand, 
Jacob  S.  Farrand,  Jr., 
Silas  Farmer, 
Fred  Fayram, 
H.  F.  Fechbeimer, 
Thomas  Ferguson, 

D.  M.  Ferry, 

Mrs.  Elstner  Fisher, 
M.  M.  Fisher, 
John  P.  Fiske, 
John  P.  Fleltz, 
Ben  Fletcher, 
Chas.  T.  Fletcher, 
E  H.  Flinn, 
Mrs.  Chas.  Flowera, 
W.  J.  Fowler, 
A.  J.  Fox, 
J.  Frankenstein, 
C.  L.  Freer, 
Mrs.  H.  L.  Frue, 
R.  H.  Fyfe, 
J.  K.  Gailey, 
James  Gamble, 


R.  W.  Gillett, 
R.  W.  Gillman, 
Bruce  Goodfellow, 
Jas.  S.  Goodrich, 
Miss  Nellie  Goodwin, 

E.  A.  Gott, 
W.  S.  Gould 
H.  A  Graves, 

S.  B.  Grummond, 

John  A.  Hager, 
Mrs.  J.  H.  Hahn, 
H.  A.  Haigh, 
Andrew  Hair, 
J  .G.  Hamblen, 
W.  P.  Hamilton, 
L.  C.  Hanmer, 
Geo.  Hargreaves, 
H.  A.  Harmon, 

F.  B.  Harper, 
Walter  S.  Harsha, 
Gilbert  Hart, 

C.  S.  Hathaway, 
W.  B.  Healey, 
J.  R.  Hayes, 

D.  O.  Haynes. 
J.  D.  Hawks, 
John  G.  Hawley, 
J.  A.  Heames, 
Samuel  Heavenrich, 
Simon  Havenrich, 
F.  J.  Hecker, 

E.  S.  Heinman, 
Geo.  M.  Hendrie, 
A.  M.  Henry, 
Emil  Heyn, 
Strathearn  Hendrie, 
H.  Hitchcock, 

R.  A.  Hollister, 
Hugo  Hill, 
C.  W.  Hitchcock, 
Geo.  S  .Hosmer, 
8.  W.  Hood, 
Geo.  H.  Hopkins, 
Collins  B.  Hubbard, 
J.  B.  Howarth, 
A.  F.  Howland, 
J.  I.  Hudson, 

W.  H.  Irvine, 
Mrs.  David  Inglis, 

Albert  P.  Jacobs, 
Chas.  H.  Jacobs, 
William  F.  Jarvis, 
H.  H.  Jackson 
H.  L.  Jenness, 
J.  S.  Jennings, 
Thos.  8.  Jerome, 
Bradford  Johnson, 
J.  HufE  Jones, 
L.  H.  Jones, 
C.  D.  Joslyn, 
Frederick  Joy, 

Ronald  Kelly, 
Miss  Edith  Kent, 
Chas.  A.  King, 
Mrs.  J.  B.  King, 


246 


MUSIC  teachers'  national  association. 


P.J.  Kinnacan, 
Otto  Kirchner, 
J.  C.  Kuhn, 

Mrs.  Austin  Ladne, 

Gilbert  W.  Lee, 

J.  L.  Lee, 

C.  H.  Leonard, 

E.  L.  L«wi8, 

C.A.  Lightner. 

A.  G.  Lindsay 

Wva  LiTingstone,  Jf, 

C.  E.Lockwood, 

Geo.  H.  Lothrop, 

C.  J.  Lundy, 

Eldridge  M.  Lyon, 

J.  C.  McCaul, 

Lewis  A.  McCreary, 
Theo.  A.  McGraw, 
Edma  McGraw, 
Mrs.  T.  S.  McGraw, 
Andrew  McLellan, 
Hugh  McMillan, 
James  McMillan, 
W.  C.  McMillan, 
A.  McVettie, 
Kichard  McCanley, 
Edwin  F.  Mack, 
Donald  Maclean, 
C.  W.  Marvin, 
Fred  Marvin, 
Geo.  F.  Marx, 
C.  H.  Meday, 

E.  W-  Meddaugh, 
Ira  A.  Metcalf, 
H.  J.  Mllburn, 
Robert  Miller. 

B  B.  Mitchell, 
John  B.  Moloney, 
Chas.  G.  Moore. 
Mrs.  H.  C.  Moore, 
C.  W.  Moore, 
Geo.  F.  Moore, 
Wm.  A.  Moore, 
J.  V.  Moran, 
Wm.  D.  Morton, 
J.  F.  Mount, 
J.  B.  Mulliken, 
Edgar  H.  Mumford, 
Samuel  R.  Mumford, 
S.  T.  Murphy, 
W.  H.  Murphy, 

Mrs.  Helen  H.  Newberry, 
J.  S.  Newberry, 
T.  H.  Newberrr, 
C.  A.  Newcomb, 
Joseph  Nicholson, 
John  M.  Nicol, 
C.  "W.  Noble, 

H.  W.  O'Brien, 
Wm.  O'Leary, 
R.  C.  Olin, 
John  Owen, 

Harry  E.  Palmer. 

F.  F.  Palms, 
H.  C.  Parke. 
Arthur  M.  Parker, 
W .  P.  Parker, 

L.  W.  Partridge. 
Robert  Pelham,  Jr., 


E.  W.  Pendleton, 
W.  B.  Penfield, 
Chas.  B.  Phelps, 
Oliver  Ph'  Ips, 
H.  S.  Pingree, 
Samuel  E.  Piltman, 
Thomas  Pitts, 
O.  M.  Poe, 
Ashley  Pond, 
W.  S.  Pope, 

C.  H.  Preston, 
Marvin  Preston, 
John  B.  Price, 

Geo.  W.  Radford, 

Wm.  Reid, 

Geo.  O.  Robinson, 

G.  W.Ro Vinson, 
R.  D.  Robeson, 
John  G.  Rumney, 
Geo.  H.  Russell, 
Walter  S.  Russel, 
Geo.  M.  Savage, 

P.  J.  SchwankovBkj, 
Mrs.  Daniel  Scotten, 
Oren  Scotten, 
Jas.  E.  Scripps, 
S.  S.  Seefred, 
Allan  Shelden, 
Mrs.  F.  B.  Sherman, 

E.  S.  Sherrill, 
A.  P.  Sherrill, 
O.  W.  Shipman, 

F.  T.  Sibley, 
Samuel  B.  Sinclair, 
Mrs.  E.  T.  Slocum, 
P.  E.  Smith, 

M.  S.  Smith, 
Jesse  M.  Smith, 
Stanley  B.  Smith, 
Frank  E.  Snow, 
Geo.  P.  Spooner, 
Mrs.  H.  W.  Standart, 
P.  K.  Stearns, 
Mrs.  E.  W.  Stoddard, 
Roe  Stephens,. 
Henry  Stephens, 
P.  B.  Stevens, 
J.  B.  Stevens, 
Mrs.  W.  H.  Stevens, 
Wm.  Stridiron, 

F.  W.  Swift, 
Mrs.  E.  Y.  Swift, 
E.  T.  Tappev, 

D.  H.  Taylor, 
L.  M.  Thayer, 

E.  L.  Thompson, 
P.  M.  Thompson,  - 
Chas.  P.  Toll, 

P.  N.  Tomlinson, 
R.  H.  Trayer, 
John  Trix, 
Mary  E.  Turner, 

H.  M.  Utley, 

E.  C.  Van  Husan, 

G.  E.  Van  Syckle, 
Jas.  H.  Vhay, 
W.  G.  Vinton, 
Bryant  Walker^ 
E.  C.  Walker, 
Hiram  Walker, 

H.  O.  Walker, 
Eber  Ward, 
Carl  E.  Warner, 


Chas.  A.  Warren, 
Homer  Warren, 
J.  A.  Warren, 
E.  A.  WaterfalU 
J,  W.  Waterman. 

C.  B.  Weir, 
J.  P.  Weiss, 
Wm.  H.  Wells, 
Wm.  P.  Wellfl, 
Emory  Wendell, 
Frank  S.  Werneken, 
Geo.  C.  Wetherbee, 

D.  Whitney,  Jr., 
Herschel  Whitaker, 
A.  E.  F.  White, 
H.  K.  White, 

E .  W.  Wiggins, 
R.  C.  Wilby, 
Harry  R.  Williams, 
Larned  Williams, 
Mrs.  A.  S.  Williams, 
N.  G.  Williams, 

N.  G.  Williams,  jr:, 
W.  C.  Williams, 
Fanny  H.  Wingert, 
Richard  Storrs  Willis, 
Frederick  Woolfenden, 
CM.  Woolley, 
Mrs.  Chas.  Wright, 
Henry  Wunech, 
American  Express  Co., 
Bassett  &  L'Hommedieu,. 
J.  H.  Black  &  Co., 
Chas.  Bobzin  &  Co., 
J.  E.  Bowles  &  Co., 

A.  A.  Brown  &  Co., 
Breckenridge  &  Evarts, 
Burnham,  Stoepel&Co., 
O.  B.  Cook  &  Co., 
Detroit  City  Glass  Works, 
Eagle  Iron  Works, 

H.  D.  Edwards  &  Co., 
Farrand,  Votey  &  Co., 
J.  B.  Field  &  Co., 
Geo.  H.  Gies  &  Co., 
Golden  Eagle  Cloth'g  House 
Gourlay  Bros., 
Grinnell  Bros., 
Geo.  Hadzsits  &  Co., 
Hudson  &  Symington, 
Keenan  &  Jahn, 
King,  Klugh  &  Co., 
Mabley  &  Company, 
McDonald  Bros.  &  Co., 
M.  Maier  &  Co., 
Michigan  Malleable  Iron 

Works, 
Geo.  Moebs  &  Co., 
Moore  &  Moore, 

B.  G.  Morris  &  Co., 
Newcomb,  Endicott  &  Co.y 
Paige  &  Strachan, 
Pardridge  &  Co., 

Rasch  &  Kiesling. 
Rasch  &  Reckmeyer, 
T.  B.  Rayl  &  Co., 
Roehm  &  Son, 
H.  S.  Robinson  &  Co., 
Rolfhoven  &  Co., 
Sinclair,  Evans  &  Elliott, 
P.  G.  Smith  Sons  &  Co., 
L.  A.  Smith  &  Co., 
W.  &  J.  Sparling, 
Taylor,  Woolfenden  &  Co., 


SPECIAL  CONTRIBUTORS. 


247 


Traub  Bros.. 
Van  Eet  &  Gravep, 
R.  Wagner  &  Co., 
Henry  C.  Weber  &  Co., 


W  N.  Winans  &  Co., 
Williamson,  Ingram  & 
Griggs, 


Winterhalter  &  Son, 
Chas.  Wright  &  Co., 
Wright,  Kay  &  Co., 


SPECIAL  CONTRIBUTORS. 


F.  P.  Anderson, 

John  Breitmeier  &  Son, 

Levi  L.  Barbour, 

J.  C.  Batchelder, 

W,  C.  Colburn, 

Calvert  Lithographing  Co., 

Chittenden  &  McCreary, 

Carr  &  Reeve, 

W.  H.  Ellis, 


Wm.  H.  Elliott, 
R.  H.  Fyfe  &  Co., 

E.  T.  Hance, 
J.  H.  Hahn, 

F.  W.  Hayes, 

Geo.  H.  Gies  Sa  Co., 
Mabley  &  Co., 

G.  &R.  McMillan*  Co. 


Newcorab,  Endicott  &  Co. 

V.  C.  Parke, 

C.  J.  Reilly, 

F.  G.  Smith  Sons  «&  Co., 

A.  A.  Stanley, 

F.  J.  Schwankovsky, 

Van  Kst  &  Graves, 

Wright,  Kay  &  Co. 


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HECTOR  BERLIOZ, 

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AMBROISE  THOMAS, 

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A.  MARMONTEL, 

WILLIAM  MASON, 


S.  B.  MILLS, 

J.  MOSCHELES, 

ALBERT  NIEMANN, 
NICOLA  RUBINSTEIN, 

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CARL  WOLFSOHN, 

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TERESA  TITIENS, 
PARE  PA  ROSA, 

MINNIE  HAUCK, 

EMMA  JUCH,  Etc.,  Etc. 


Illustrated  Catalogues  Mailed  Free  on  Application. 


STKINWAY  SONS, 


Warerooms,  Steinway  Ball,  107--Hi  East  14tli  St., 
NKW  YORK. 


MANUFACTURERS  OF 


fiRAKD,  UPRIGHT — p  |  A  N  O  S — ™  SQUARE 

UNEQUALLED  in  Tone,  Touch,  Workmanship  and  Durability. 


LETTERS  FROM  THE  WORLD'S  GREATEST  PIANISTS  : 

VON  BULOW.  D'ALBERT. 

BOTH  DECLARE  THE  KNABE  THE  BEST  PIANOS  IN  AMERICA. 


VON  BULOW'S  LETTER 

After  Concert  Tour,  1890. 


To  Wm.  Knabe,  Esq..  Baltimore: 

Dear  Sir,  —  My  renewed  and  by 
more  use — under  aggravating  circum- 
staaces,  as  bad  health  and  tiresome 
travelling — enlarged  experience  of  your 
Pianos  this  (second  and  last  transat- 
lantic) season  has  throughout  con- 
firmed myself  in  the  opinion  I  expressed 
last  year,  viz. :  That  sound  and  touch 
of  the  Knabe  Pianos  are  more  sympa- 
thetic to  my  ears  and  hands  than  sound 
and  touch  of  any  other  Pianos  in  the 
United  States.  As  I  met  with  frequent 
opportunities  of  establishing  compari- 
sons between  the  Knabe  Pianos  and 
instruments  of  rivalizing  or  would- 
rivalizing  producers.  I  dare  now  add 
that  I  declare  them  the  absolutely  best 
■in  America. 

With  sincere  regards, 
Yours  truly, 

Dr.  Hans  von  Bulow. 

Hamburg,  27th  May,  1890. 


EUCEN   D  ALBERT'S  LETTER 

TO 

Wm.  Knabc  Co. 


{Translated from  the  German.^ 


During  my  sojourn  here  I  had  fre- 
quent opportunities  to  make  myself 
acquainted  with  the  Knabe  Pianos, 
and  from  fullest  conviction  I  declare 
them  to  be  the  best  instruments  of 
America.  Should  I  return  here  for 
artistic  purposes — which  may  be  the 
case  very  soon — I  shall  most  certainly 
use  the  pianos  of  this  celebrated  make. 
I  give  this  testimonial  with  pleasure, 
voluntarily,  and  entirely  unsolicited  for 
by  the  house  of  Knabe. 

EUGEN  D'Albert, 
New  York,  May  16,  1890, 


WAREROOMS: 

Baltimore,  22  &  24  E.  Baltimore  St.     New  York,  No.  148  Fifth  Avenue. 
Washington,  No.  8I7  Pennsylvania  Avenue. 


DECKER 

BROTHER      ^  ■  I 

PIANOS 

Have  slqown  thenqselves  so  far  superior  to  all  others  in 
Beauty  of  Tone,  Elasticity  of  Touch,  Excelleqce  of 
Worknnanship,  aqd  Great  Durability,  that  tl^ey  are  earn- 
estly souglqt  for  by  all  persoqs  desiriqg 


THE  VERY  BEST  ^<^'X 

PIANO. 


CAUTION 

All  genuiqe  Decker  Piaqos  Iqave  th.e  following  qame 
(precisely  as  \\ere  slqcwq)  or|  the  piaqos  above  the  key  St. 


SEND  FOR  ILLUSTRilTED  CflTllLOGUE. 


U/ar^rooms ;  33  iJijioi)  ^^uare,  ffeu/  Yorl(. 


Mason  &  Hamlin 


UPRIGHT 


GRAND 


AND 


PIANOS 


Remarkable,— for  musical  purity  of  tone. 
Unexcelled, — in  finish  and  action. 
Unrivalled, — for  standing  in  tune. 

Endorsed  by  best  authorities  everywhere,  and  fast  becoming: 
as  famous  as  the  Mason  &  Hamlin  Organs. 


The  acknowledged  Standard  of  Excellence. 

Highest  award  at  all  great  World's  Exhibitions, 
since  and  including  that  of  Paris,  1867. 

Organs  and  Pianos  exchanged,  rented,  and  sold; 
for  cash  or  on  easy  payments. 


!S|a?oii^jlamIm  0?gan^  piano  (Jo. 

149  Wabash  avenue, 
CHICAGO. 


ADELINAPATTI 

AND 

THE  KIMBALL  PIANOS 


Chicago,  December  i6,  1889. 


W.  W.  KIMBALL  CO. 

CHICAGO,  ILL. 

■Gentlemen: 

It  gives  me  great  pleasure  to  testify  to  the  merits  of  the  New 
Kimball  Piano.  It  has  a  wonderfully  sweet  and  sympathetic  tone 
and  supports  the  voice  in  a  most  satisfactory  manner. 

Sincerely  yours, 


CATALOGUES  SENT  FREE. 


ESTEY  &  CAMP, 

233  STATE  STREET, 

49,  51,  53  JACKSON  STREET, 


Chicago. 


USED  BY  THE  MOST  DISTINGUISHED  PIANSTS, 

WHOSE  BRILLIANT  SUCCESSES  WITH  THE 

|iei?ry  p.  /T^iller  /Artists'  Crapds 

Mark  an  Era  in  their  PROFESSIONAL  CAREER. 


THE  CAPACITY  FOR  TONE  COLORING, 

WHICH  THET  TIND  IN  THE 

MILLKR  GRANDS 

appears  to  give  those  who  use  these  now  famous  instruments 
an  advantage  which  they  do  not  obtain  in  other  pianos  ;  A 
FEATURE  in  the  piano  manufacturing  of  to-day  which  is 
ATTRACTING  UNIVERSAL  ATTENTION. 


CATALOGUES   SENT  FREE. 


\\((T)ry  p.  f[\i\\((r  9  5095  Piapo  Qo. 

BOSTON,  MASS. 


Branch  Honse,  Philadelphia,  Fa. 


THE  PROGRESSIVE 

A.  B.  CHASE  PIANO. 


Do  you  realize  that  the  latter  part  of  the  19th  century  is  the  most  wonder- 
■£ul  era  of  progress  in  inventive  skill  ever  known? 

Do  you  know  that  the  thing  that  stood  without  a  rival  but  yesterday,  is 
equalled  to-day,  and  surpassed  to-morrow? 

Do  you  know  that  the  A.  B.  CHASU  PIAMO  has  come  with  rapid 
•strides  to  the  very  front  rank,  and  to-day  stands  unsurpassed? 

That's  so;  and  with  exalted  ideals  and  relentless  ambition,  the  manufac- 
turers propose  it  shall  remain  at  the  head  of  the  column. 

Conservatories  of  Music  are  now  using  large  numbers  of  these  instru- 
.ments.  Students  will  use  no  other  Piano  when  they  can  get  an  A.  B. 
CHASE  FIAl^O. 

"  The  National  School  and  College  of  Music,"  Chicago,  used  the  A.  B. 
'CKAS£  PIA]li€>  exclusively  the  past  year. 

For  descriptive  Catalogue  and  Net  Prices,  address 


LYON,  POTTER  &  CO. 

Agrents  for  Illinois,  Iowa  and  Wisconsin, 

"Or  the  manufacturers, 

THE  A.  B.  CHASE  CO., 

NORWALK,  OHIO. 


IF  YOU  WANT  A  GOOD  PIANO  SEE  THE  CELEBRATED 


MEHLIN:  •  GRADE •  PIANOS. 


MANUFACTURED  BY 


FACTORIES  IN  INEW  YORK  AND  MINNEAPOLIS, 


OFFICERS 


M.  A.  PAULSON,  Pres't. 

H.  PAUL  MEHLIN,  Vice-Pres't. 
PAUL  G.  MEHLIN,  Gen'l  Sup't. 
A.  M.  SHUEY,  Sec'y. 

C  A.  STICKLE,  Treas. 

I 

?^ 


  l>IRGCTOBl». 

Got.  J.  S.  PILLSBUEY. 
THOMAS  LOWRY. 

CHAS.  R.  CHUTE. 

CHAS.  L.  TRAVIS. 

ROBERT  T.  LANG. 


1 


The  Mehlin  High-Grade  Pianos 

Contain  more  Valuable  Improvements  than  all  others,  viz.: 

The  Patent  Grand  Plate,  The  Patent  Bessemer  Steel  Action  Frame, 

The  Patent  Grand  Fall  Board,  The  Patent  Endwood  String  Bridge, 

The  Patent  Piano  Muffler,  The  Patent  Touch  Regulator, 

The  Patent  Finger  Guard,  and  the  Patent  Cylinder  Top  and  Tone  Reflector. 

The  only  company  in  the  United  States  having  two  independent  factories  in  the  East 
and  West,  and  supplying  from  each  factory  high-grade  pianos  peculiarly  adapted  to  the 
atmospheric  influences  of  its  section. 

SEND  FOR  HANDSOME  ILLUSTRATED  CATALOGUE. 

CEIiTURY  PIANO  COi¥iPANYp 

Manufacturers  ot  the  Mehlln  High-grade  Pianos. 

Hew  York  Factor),  Warerooms  and  Offices!  461, 453, 4G5, 40/  West  4fltti  Street,  corner  lOtli  Avenue' 
Minneapolis  Offices  and  Warerooms  i  Ceotur)  Hall,  Cor,  Fourtli  St.  and  First  Ave.,  South, 

Minneapolis  Factory:   Cor.  Main.  Bank  and  Prince  Streets. 


HE^  ORLEANS,  1885/ 


■GOLD  MEDAL.-^^MELBOURNE,  1889. 


BEHR  BROS. 

PIANOS. 


GRAND 

Upright 


STANDARD  INSTRUMENTS  OF  DNEQDALLED  EXCELLENCE. 


XAVER 
SCHARWENKA. 

CONRAD 
ANSORGE. 

Dr.  HANS 
VON  BULOW. 


ARE  ENDORSED  BY 

"  Answers  every  requirement  in  regard  to  tone  and  touch  as 
fully  as  can  possibly  be  expected  oi  an  instrument  constructed  in 
the  year  A.  D.  i8go." 

"At  the  recent  concert  of  the  N.  Y.  State  Music  Teachers* 
Association  at  Saratoga,  it  stood  the  supreme  test  and  can  proudly 
take  an  equal  position  with  any  other  piano." 


"  Your  instruments  in  general  merit  my  approval, 
of  Behr  Bros.  &  Co.  are  deserving  of  success. " 


The  firm 


MORITZ 
MOSZKOWSKI. 


"  An  instrument  that  recommends  itself  in  the  first  place  by  a 
most  pleasing  exterior  ;  in  a  far  higher  measure  however  by  its 
musical  qualities.  The  tone  of  the  grand  is  exquisitely  musical 
and  is  well  balanced  in  all  the  registers.  The  touch  has  an  agree- 
able firmness  notwithstanding  its  lightness,  and  this  seems  to  be 
brought  about  by  the  correct  adjustment  of  the  several  mechanical 
parts. " 

S.    B.   MIL.L.S,    HOmER  N.  BARTLETT,  GONZAL.O  NUNEZ,  Mme.  de 
SAL.AZAR,  OTTO  HACKH,  SIL.AS  G.  PRATT,  F.  H.  DANIELS, 
J.  H.  ROSEWALD,  CARL.  Etc. 

BEHR  BROS.  &  CO., 

Warerooms  :  BEHR.  BROS.  HALL, 

81  FiKOi^H  AvKNUE,  Nkw  York. 


Illustrated  Catalogues  mailed,  on  application. 


While  you're  about  if  why  not  get  a 
Piano  that  will  stand  the  every-day  wear 
and  tear— year  in  and  year  out— one  that 
has  been  tried  and  found  not  wanting  ? 
Probably  you  wont  feel  like  buying  an- 
other in  a  year  or  two,  when  yovve 
found  out  your  error.  You  can  get  a 
Weber,  Wheelock,  or  Lindeman  of  us  at 
first  hands,  for  you  re  buying  from  the 
manufacturers  direct 

Don't  buy  what  you  don't  want  be- 
cause it's  cheap. 


MANUFACTURERS'  PIANO  GO. 

24S  WABASH  AYE.,  CHICAGO. 


STECK,  IVERS  &.  POND, 
CONOVER  BROS., 
COLBY,  SMITH  &  BARNES, 
AND  JEWETT 

m  IK  PIANOS! 


Cash  or  on  Time. 
Old  Pianos  and  Organs  taken  in  Exchange. 


AYERS  &  WYGANT  CO., 

Reeds'  Temple  of  Music. 

182  &  184  Wabash  Ave.,      -  CHICAGO. 


LOCATED  IN  THE  NEW  (^HK^^QQ  ATHENEUM     18  to  26  Van  Buren  St. 

Best  Advantages.  TWENTY-FOUR  TEACHERS.  50  Partial  Scholarships 

Given  to  talented  and  deserving  pupils,  if  properly  recommended. 
l>EPART]llESrTS :  Piano,  Voice,  Harmony  and  Musical  Composition.     Methods  or 
Teaching,  Sight  SiNSfNG,  Violin,  Flute,  Cornet,  Banjo,  Guitar,  All  Orchestral 

Instruments,  Elocution,  Delsarte,  Languages,  Oil  Painting,  Etc  

Illustrated,  Instructive  Catalog  Mailed  on  Application  to  H.  S.  PERKINS,  Director. 

SPECIAL  NOTICE.— The  four  weeks''  Normal  Summer  Se8siojwwiU'J)egin  Monday,  July  20,'91, 


The  Fall  Term  for  1891  commences  September  14.  The  College  Year^has  four  terms  of  ten 
weeks  each.  Send  for  Perkins  Catalog  of  Singing  School,  Choir,  Public,  School  and  Conven- 
tion Choral  Books  and  Prices. 


THE 


l^latioQal  QoQS^ruatory  of 

OF  AMERICA, 

126  aqd  128  ^ajt  lytl^  Str^^t,  p/eiu  YorK. 


Incorporated  Septembbr  21,  1885. 


INCORPORATORS. 

-MKS.  AUGUST  BELMONT,  MRS.  RICHARD  IRVIN,  Jr. 

MRS.  WILLIAM  T.  BLODGETT,  MRS.  FRANCIS  B.  THURBER, 

MRS.  THOMAS  W.  WARD,  WILLIAM  K.  VANDERBILT, 

AUGUST  BELMONT,  WILLIAM  R.  GRACE, 

ANDREW  CARNEGIE,  RICHARD  IRVIN,  Jr. 

WILLIAM  G.  CHOATE,  HENRY  G.  MARQUAND, 

JOSEPH  W.  DREXEL,  JESSE  SELIGMAN, 

PARKE  GODWIN,  FRANCIS  B.  THURBER. 

OFFICERS. 

President,  MRS.  JEANNETTE  M.  THURBER.         Treasurer,  RICHARD  IRVIN,  Jb^ 
Secretary,  CHAS.  INSLEE  PARDEE,  A.M. 

FACULTY. 

SiNQIHG. 

Principal  of  Vocal  Department— Signor  R.  Sapio. 
Miss  Eleanor  Warner  Everest,  Mme.  Elena  Corani,  Mr.  Christian  Fritsch, 

Mr.  Oscar  Saenger,  SignopR.  Sapio. 

Opera  Class— Signor  R.  Sapio.  Oratorio  Class— Mrs.  Beebe  Lawton. 

Ensemble  and  Operatic  Chorus— Mr.  Gustav  Hinrichs. 
Piano. 
Mr.  Rafael  Joseffy. 

Miss  Adele  Margulies,  Miss  Jessie  Pinney,  Miss  Elinor  Comstock. 

Miss  Mabel  Phipps,  Mr.  Leopold  Winkler.  Mr.  J.  G.  Huneker, 

Organ— Mr.  Samuel  P.  Warren.  Harp— Mr.  John  Cheshire. 

Violin. 

Mme.  Camilla  Urso,         Mr.  Leopold  Lichtenberg.  Mr.  Jan  Koert. 

Violoncello— Mr.  Victor  Herbert.  Contrabass— Mr.  Ludwig  Manoly. 

Flute- Mr.  Otto  Oesterle.  Oboe— Mr.  Arthur  Trepte. 

Clarinet— Mr.  Joseph  Schreurs.  Bassoon— Mr.  Rudolph  Renter. 

French  Horn— Mr.  Albert  H.  Hackebarth.  Cornet— Mr.  C.  Sohst. 

Harmony. 

Mr.  F.  Q,.  Dulcken.  Mr.  Alberto  Frencelli. 

Counterpoint  ano  Composition— Mr.  Bruuo  Oscar  Klein. 

SOLTEGGIO. 

Monsieur  J.  Pizzarello,  Miss  Leila  LaFetra,  Monsieur  Auguste  Perrot. 

Chamber  Music— Mr.  Edward  Heimendahl.  Orchestra— Mr.  Frank  van  der  Stucken , 
Chorus— Mr.  Frank  van  der  Stucken.  History  of  Music— Mr.  Henry  T.  Finck. 

Elocution  and  Diction — Mr.  W.  V.  Halt.  Italian— Signor  Pietro  Cianelli. 

Stage  Deportment- Monsieur  Mamert  Bibeyran. 
..Fencing— Monsieur  Regis  Senac.  Accompanist— Sig.  Ernesto  Belli , 

Repetitburs. 

Miss  Grace  Povey.  Miss  liucille  DuPre, 

Miss  Carrie  Konigsberg,  Miss  Adelaide  Okell, 

Miss  Margaret  Beere,  Mr.  Harry  P.  Guy. 


CHICAGO  CONSERVATORY,  "SSjr « 


Faculty  and  Branches,  Season  1891 

Piano. 

Mr.  Wm.  H.  Sherwood,  Director,  Mr. 
Calvin  B.  Cady,  Mr.  H.  A.  Kelso, 
Jr.,  Miss  Gertrude  Foster,  Miss 
Julia  Caruthers,  Miss  Edith  V. 
Eann,  Miss  Kate  P.  Richards. 
Vocal  Music. 


Signor  Vittorio  Carpi,  Miss  Grace 
Hiltz. 

flight  Reading. 

Mr.  CalTin  B.  Cady,  Miss  Grace  Hiltz. 

Org^an. 
Mr.  Clarence  Eddy,  Director. 

Violin. 

Mr.  A.  Rosen becker,  Mr.  Richard 
Seidel. 

Violoncello. 

Mr.  M.  Eichheim. 

Karp. 

Miss  Clara  Murray. 

Flute. 

Mr.  Otto  Helms. 

Cornet. 

Mr.  John  Quinn. 

Mandolin. 

Sig.  C.  Talisi. 


«}uitar. 

Miss  Lulu  Hiltabidel. 

Harmony,  Counterpoint, 
Composition  and 
Orchestration. 

Mr.  Frederic  Gram  Gleason,  DirecVr 
Mr.  Hubbard  W.  Harris. 

Foreig:n  JLaasuages. 
French,  German,   Italian,  Spanish. 
By  Native  Teachers. 
Dramatic  and  Poetic 
Readins- 
Mr.  Samuel  Kayzer. 

Elocution,   Delsarte,  The- 
ory of  ISxpressioB  and 
Physical  Culture. 

MiBB  Anna  Morgan,  Miss  May  Don- 
nally,  Mrs.  Ida  Serven,  Miss  Sarah. 
Truax,  Mr.  E.  L.  Dworak,  Mr. 
Samuel  Knecht. 

Dramatic  Art  and  Stage 
Training. 

Mr,  Hart  Conway. 

Dancins. 

Miss  Laura  Rose. 

Feneing. 

Col.  Thoa.  H.  Monstery. 


Fall  Term  opens  Monday,  Sept.  14,  1891.  Address  all  communications  to 

(SAMUKKi  KAVZEB,  Director. 


Frederic  Grant  Gleason, 


TEACHER  OF 


piaqo  ^  O^gan  piafing, 

HARWIOWY, 
COUNTERPOINT, 


FUGUE, 

Free  CoDipsition  &  Orcliestratioa 

THE  AUDITORIUM. 

Room  84. 

HARimONYAND  MUSICAL  THEORY  BY  MAIL 
A  SPECIALTY. 


mi . . . 

THE  . . . . 
NATURAL 
TEETH . . 


If  you  would  keep  your  Health,  Youthful 
and  most  Pleasing  Facial  Expression. 


This  is  Easily  and   Pleasantly  done  with 
this  the  only  Perfect  Dentifrice. 


THE  RESULT  OF  TWENTY  YEARS  CAREFUL 
INVESTIGATION. 


MANUFACTURED 


DR,  E.  L.  GRAVES, 

7  LAFLIN  STREET,        -  CHICAGO. 

SOLD  BY  ALL  FIRST-CLASS  DRUGGISTS, 


ESTABLISHED  1874. 


DETROIT  CONSERVATORY  OF  HDSIC. 


BOARD  OF  INSTRUCTION. 


J.  H.  Hahn,  F.  H.  Pease,  J.  C.  Batchelder,  A.  A.  Stanley,  Chae,  E.  Piatt,  Fred.  L. 
Abel,  William  Luderer,  Julius  V.  Seyler,  Fritz  Ramm,  Chas.  Komrofski,  Emil  Speil, 
Miss  Kate  H.  Jacobs,  Miss  Agnes  Andrus,  Miss  Margaret  W.  Wiley,  Mrs.  S.  E.  Pittman, 
Miss  Lena  McMaster,  Miss  Alice  Andrus,  Mrs.  Ida  Norton,  Mrs.  Emma  A.  Thomas, 
Mias  May  Leggett,  Miss  May  Porter,  Miss  Ida  Vogt. 

The  Faculty  consists  of  well-known  instructors,  graduates  of  the  most  celebrated 
institutions  of  musical  learning  in  Europe,  including  the  Royal  Conservatories  of 
Leipzig,  Dresden  and  Stuttgart;  the  Kullak  and  Scharwenka  Music  Schools  at  Berlin; 
the  Raff  Conservatory  at  Frankfort,  and  the  Liszl  Class  at  Weimar.  Also  personal 
students  with  such  eminent  masters  as  Moscheles,  Haupt,  Liszt,  Reinecke,  Plaidy, 
Kullak,  Raff,  Ehrlich,  Moszkowski,  Scharwenka,  Raif,  Urspruch,  Max  Schwartz,  E.  F. 
Richter,  Bargiel,  Kiel,  Ferd.  David,  Roentgen,  Rappoldi,  Herrmann,  Cossman,  Marchesi, 
Stockhausen,  Scharfe,  Fleisch,  San  Giovanni,  et  al. 

The  course  of  instruction  in  every  department  is  systematic  and  complete,  aiming 
at  the  Highest  Standard  of  Artistic  Skill  and  Excellbnce.  The  end  sought  to  be 
attained  is  a  Thorough  Musical  Training  in  whichever  branch  the  student  engages, 
whether  as  a  means  of  Self-Culture,  as  an  Accomplishment,  or  for  Professional 

PUBPOBES. 

The  Conservatory  having  an  excellent  String  Quintette  at  its  disposal,  offers 
unrivaled  advantages  for  the  practice  of  ensemble  or  concerted  playing,  embracing 

CONCERTOS,  TRIOS,  SONATAS,  Etc., 

of  the  Classic  and  Modern  masters,  requiring  the  aid  of  one  or  more  instruments. 

Particular  attention  is  given  to  instruction  in  Harmony  and  Theory  of  Music,  and 
its  study  is  earnestly  recommended.  The  lessons  in  Harmony  and  Ensemble  Playing- 
are  made  prominent  features,  and  together  with  the  Orchestra  and  Chorus  Classes 
are  FREE  to  all  pupils  of  the  institution. 

Certificates  are  furnished  upon  application  at  any  time,  containing  an  exact  and 
specific  statement  of  the  acquirements  possessed  by  the  student. 

Diplomas  are  awarded  upon  finishing  the  prescribed  Course  of  Study,  and  passing 
an  examination  equivalent  to  the  Demonstrative  Fellowship  and  the  Theoretic  Associate- 
ship  Examinations  of  the  AMERICAN  COLLEGE  OF  MUSICIANS. 

Advanced  students  have  abundant  opportunities  for  public  performances  at  the 
Conservatory  Concerts  which  occur  frequently  during  the  season,  and  to  which  pupils 
and  their  parents  are  admitted  free.  Students  are  fully  prepared  for  Concert  Playing 
on  all  instruments;  also  for  Church,  Oratorio  and  Concert  Singing,  and  for  the 
Operatic  stage. 

Weekly  rehearsals  or  entertainments  are  also  given,  to  which  only  pupils  are 
admitted,  and  in  which  pupils  of  all  grades  take  part,  thus  affording  means  of 
acquiring  confidence  and  self-possession. 

Pupils  can  enter  at  any  time,  although  it  is  desirable  to  have  applications  made  at  or 
before  Term  Commencement.  Sj 

Students  from  abroad  will  be  furnished  with  a  list  of  carefully  selected]  boarding 
places,  in  private  families,  upon  application  to  the  secretary. 

For  further  information,  address 


J.  H.  HAHK,  Director, 


40  West  Fort  St.  Detroit,  Mich. 


NOTICK 


Mr.  John  Towers, 


pupil  of  Giro  Pinsute,  London,  and  Theodor  Kullak  and 
Adolph  B.  Marx,  member  of  the  Sing-Akademie,  Berlin;  author 
of  "Let  Children  Sing,"  "Modern  Singers  and  Singing,"  etc.; 
•director  vocal  department,  School  of  Music,  Indianapolis,  is 
prepared  to 


LECTURE 


on  the  following  subjects,  with  or  without  vocal  and  instrumental 
illustrations: 


"  HOW  TO  SING." 

"MODERN  SINGERS  and  SINGING." 

"MUSIC  AS  A  FACTOR  in  PUBLIC  WORSHIP." 

ENGLISH  GLEE  and  MADRIGAL  WRITERS." 
^'THE  FIVE  MUSICAL  GIANTS: 
BACH, 
HANDEL, 
HAYDN, 
MOZART 
and  BEETHOVEN." 


Address :   School  of  Music, 

INDIANAPOLIS,  IND. 


]^  Brotherhood  Technicon 


For  the  Perfect  Development  of  the  Hands  and  Arms 
in  the  Study  of  the  Piano,  Organ,  Violin,  Etc. 


QUESTIONS   OF  IMPORTANCE 

TO   PIANO  PLAYERS. 


Why  continue  to  teach  under  old-time  method,  with  its  nerve-wearing 
influences  upon  yourself  and  pupils,  when  recent  research  has  produced  a 
new  method  which  gives  better  results  in  much  less  time,  combined  with  a 
gradual  accumulation  of  physical  strength,  instead  of  continual  nervous 
exhaustion? 

Has  not  sad  experience  taught  you  the  little  results  obtained  (compared 
with  time  expended)  iii  the  development  of  the  hand  for  the  necessities  of 
piano  playing,  by  technical  exercises  at  the  piano? 

Are  you  aware  that  this  slow  process  has  been  abandoned  by  hundreds  of 
eminent  teachers,  as  being  behind  the  genius  of  the  age,  and  that  they  are 
obtaining  results  by  the  new  method  (both  in  their  own  practice  as  well  as  in 
the  advancement  of  their  pupils),  far  in  excess  of  those  obtainable  by  old 
methods,  besides  making  their  teaching  easier  and  more  interesting? 

Is  it  not  probable  that  pupils  will  leave  the  old-method  teacher  for  the 
new,  when  quick  progress  with  less  labor  is  gained  by  the  change. 

For  further  Farticulars,  write  to 

tT.  Howard  Kootr, 

307-309  Wabash    ve.,         -  -  CHICAGO. 


$.BItAIHARD'SSONCO. 


Jobbers  and  Importers  of 


American  and  Foielgn  fflusic, 


145  and  147  Wabash  Avenue, 


CHICAGO. 


WM.  LEWIS  MDSIC  CO. 

18»  A  184  Wabash  Ave. 

ARTISTS'  VIOLINS 

FROM  THE 
BEST  MAKERS 

IN  THE  WORLD 

cremona' 

VIOLINS 

Joachim  and  Italian 
Strings  a  Specialty. 

GUITARS,  BANJOS;ftCCORD10NS 
FLUTES,  HARMONICAS, 
ETC. 

BAND  INSTRUMENTS. 

'PAGAN/N/      FRQNIftSKETCH  BY 


FINE  ITALIAN  VIOLINS 

NEW    AND  OLDi 

SEND  FOR  PRICES. 


ESTABLISHED  1857. 

JULIUS  BAUER  &  CO. 

PIANO  MANUFACTURERS 


x: 

1 

CO 

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sic 

Q- 

Ql 

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a> 

«J 

WE  OFFER    UNUSUAL    INDUCEMENTS  TO   TEACHERS,  CONSERV- 
ATORIES  AND  SCHOOLS. 

Factory,  89  to  97  E.  Indiana  St.    -  CHICAGO. 


Warerooms,  156  <fe  158  Wabash  AyOo 


David's  Musig  ©ghool^, 

WASHINGTON  IOWA. 

Music  taught  in  all  its  branches,  including  Pianoforte,  Organ,  Violin,  and  Orcheitral 
«nd  Band  Instruments,  Harmonj,  Theory  and  Orchestration. 

The  object  of  this  school  is  to  give  a  thorough  and  practical  knowledge  of  music  to 
its  pupils,  through  a  progressive  graded  system  that  embraces  everything  that  pertains 
to  the  art  and  science  of  music,  ai  embraced  in  the  curriculum  of  the  best  schools. 

M.  Li.  1>ATID,  Secretary.  V.  St.  UAVID,  Oireetor. 


LOUIS  H.  FRELIGH, 

-^PROFESSOR  OF  MUSIC,  ^ 
Studio,  3038  Magazine  St.,     -       -     ST.  LOUIS,  MO, 


Treasures  for  Teachers 

FOR  SCHOOL  MUSIC  TEACHBB8. 

SONG  MANUAL— Complete  Course  in  Music 
Reading.   By  L.  O.  Emerson. 

Book  No.  1  each  30c. ;  per  doz.  $3.00 

"2   "    40c.;      "  4.20 

"   3   "    50c.;      "  4.80 

UNITED  VOICES— Song  Collection.   By  L. 
O.  Emer.f on.   ea., 50c. ;  doz.,  $4.80. 

rOR  HIGH  SCHOOLS. 

SONG  GREETING.  By  L.  O.  Emerson.  A 
good  book  with  the  best  of  music.  60c. 
$6  doz. 

PGR  PIANO  TEACHERS  AND  THEIR  PUPILS. 

Easy  music. 
Young  PlayersTopl'r  Coirn.51  pes. ;  Young 
People's  Classics,  52  pes. ;  Popular  Dance 
Collection,  66  pes. ;  Fairy  Fingers,  36  pes. 
Medium  Difficulty.    Each,  $1  00. 
Classical  Pianist,  42  pes. ;  Piano  Classics, 
Vol.  I,  44  pes.;  Piano  Classics,  Vol.  II, 
31  pes.;   Sabbath  Day  Music,  38  pes.; 
Classic  4-hand  Collection,   19  Duets; 
0[)eratic  Piano  Collection,  19  Operas. 
Choir  Leaders  use  large  quantities  of 
our  octavo  music.  7000  different  Sacred  and 
beeular  Selections,  Glees,  Quartets,  An- 
them ?,  etc.   Price,  generally  not  more  than 
6  to  8  ots.  per  copy,  and  a  few  dimes  buy 
enough  for  a  society  or  choir. 


WIDE  AWAKE  CHOIRS, 

Chorus  Societies  and  all  Musical  Associa- 
tions  will  do  well  to  send  for  lists  and  cata- 
logues of  our  Chorus,  Anthem  or  Glee 
Books,  Church  Music  Books,  Singing  Class 
Books,    Oratorios,    Cantatas,  Quartets, 
Chorals,  Octavo  Pieces,  etc. 
JEHOVAH'S  PRAISE.   ($1,  or  $9  per  doz.) 
Emerson.   Is  a  large,  first-class  Church 
Music  book,  full  of  the  best  Metrical 
Tunes,  Anthems  and  Singing  Class  Ele- 
ments and  Music. 
Emerson's  Easy  Anthems.  (80c.,  $7.20  doz.) 
Gabriel's  New  and  Selected  Anthems.  ($1, 
$9  doz.)  Emerson's  New  Responses.  (60c. 
$6  doz.)     Dow's  Responses  and  Sen- 
tences. (80e.,  $7.20  doz.)   Santoral.  ($1, 
$9  doz.)    Palmer  and  Trowbridge. 
Are  new  and  thoroughly  good  books. 
CARL  ZERRAHN'S  ATLAS.    ($1,  $9  doz.) 
EMERSON'S  CONCERT  SELECTIONS.  ($1, 
$9  doz.) 

Are  excellent  for  conventions. 

ANT  BOOK  MAILED  TOR  RETAIL  PRICB. 

OLIYER  DITSON  CO.,  BOSTON. 

C.  H.  DiTSON  &  Co.     J.  E.  DiTSON  &  Co. 

867  Broadway,        1228  Chestnut  St. 
New  York  City.  Philadelphia. 
Lyon  &  Healy,  Chicago. 


^    WKST  ®  HOTKL,  ^ 

MINNEAPOLIS,  MINN. 

At  the  great  National  Musical  Convention  to  be  held  in  Minneapolis 
in  the  Summer  of  1892,  the  head-quarters  will  be  at  the  West  Hotel. 

This  hotel  has  accommodations  for  more  than  eight  hundred  guests, 
having  two  hundred  and  fifty  rooms  en  suite,  with  bath,  besides  having 
a  large  number  of  single  rooms  at  greatly  reduced  rates.  Rates  can  be 
made  from  three  dollars  per  day  upwards,  according  to  size  and  location 
of  room.  In  connection  with  the  hotel  are  a  series  of  Turkish,  Russian, 
Electric,  Vapor,  Shampoo  and  Swimming  Baths. 

The  Cuisine  and  Attendants  in  the  hotel  are  equal  to  any  in  the 
United  States,  and  the  prices  considerably  lower  than  in  any  hotel  of  its 
class. 

The  building  is  comparatively  a  new  one,  and  is  thoroughly  fire- 
proof, 80  that  the  pleasantest  rooms  are  those  closest  to  the  top  of  the 
building,  where  the  air  is  purer  and  a  guest  is  free  from  noise  and  dust. 

Descriptive  circulars,  containing  an  account  of  the  hotel,  will  be 
cheerfully  forwarded  on  application. 


CLAYTON  F.  SUMMY, 

/ 

m  Music  # 
PuUister.*^  Importer, 

(Steinway  Warerooms  of  Lyon,  Potter  &  Co.) 

174-176  WABASH  AVE. 
^I^iea^o,  III. 


SPECIALTIES: 

TAe  Catalogues  of  G.  Schirmer, 
New  York;  Arthur  P.  Schmidt, 
Boston;  J.  M.  Russell,  Boston; 
Edw.  Schtiberth  (Sr"  Co.,  New  York^ 
Novella,  Ezver  6^  Co.,  London  and 
Nezv  York;  the  Foreign Popular  * 
Editions  of  Classical  and  Modern 
Music,  and  the  better  class  of  For- 
eign and  American  Publications  in 
general. 

AQENT  FOR  THE 

Virgil  Practice  Clavier 

A  SILENT  PRACTICE  PIANO. 

Send  for  Descriptive  Circulars  and  Price  Lists. 


Fine  Stationery  Department 



EPISTOLARY,  WEDDING  AND  INVITATION 

STATIONERY. 


HURD'S,  CRANE'S  AND  WHITING'S 

FINE  PAPERS. 

STEEL  PLATE  ENGRAVING,  STAM  PI NG  and  E M BOSSI  NG 

©  © 

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CARDS. 

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CHICAGO.  MILWAUKEE  & 
ST.  PAUL  RAILWAY. 


Electric  Lighted  and  Steam  Heated  Vesti- 
buled  Trains,  with  Westinghouse  Air  Signals, 
between  Chicago,  St.  Paul  and  Minneapolis 
daily. 

Through  Parlor  Cars  on  day  trains  between 
Chicago;  St,  Paul  and  Minneapolis. 

Electric  Lighted  and  Steam  Heated  Yesti- 
buled  Trains  between  Chicago,  Council  Bluffs 
and  Omaha,  daily. 

Through  Vestibuled  Sleeping  Cars,  daily, 
between  Chicago,  Butte,  Tacoma,  Seattle  and 
Portland,  Ore. 

Solid  Trains  between  Chicago  and  princi- 
pal points  in  Northern  Wisconsin  and  the 
Peninsula  of  Michigan. 

Daily  Trains  between  St.  Paul,  Minne- 
apolis a-.d  Kansas  City  via  the  Hedrick  Route. 

Through  Sleeping  Cars,  daily,  between  St. 
Louis,  St.  Paul  and  Minneapolis. 

The  finest  Dining  Cars  in  the  World. 

The  best  Sleeping  Cars.  Electric  Reading 
Lamps  in  Berths. 

6100  miles  of  road  in  Illinois,  Wisconsin, 
Northern  Michigan,  Iowa,  Minnesota,  Missouri, 
South  Dakota  and  North  Dakota. 

Everything  First-Class. 

First-Class  People  patronize  First-Class 
Lines. 

Ticket  Agents  everywhere  sell  Tickets  over 
the  Chicago,  Milwaukee  and  St.  Paul  Railway 


FINANCIAL  KEPORTS.  271 

JFINANCIAL  REPORT  OF  THE  EXECUTIVE  COMMITTEE. 

RECEIPTS. 

Patrons'  Subscription  Fund  $4,790.00 

Membership  Fund   1,076.00 

Single  Course  and  Single  Admission  Tickets. .  548.00 
Proportion  receipts  from  extra  Thomas  Concert  550.50 
Special  Contributions   310.00 

$7,274.50 

DISBURSEMENTS. 

Theo.  Thomas  Orchestra  $4,500 

President's  appropriation   200 

Printing  and  advertising   644.86 

Chorus  expenses,  inc'd'g  music,  staging, etc.  564.43 

Stenographers,  clerks,  etc  ,   258.20 

Committee  expenses   177.39 

Hall  rent,  ticket  sellers,  ushers,  etc   558.50 

Stationery,  postage,  telegrams,  incidentals,  263.19 

$7,166.57 

Cash  Balance  sent  the  Secretary,  107.93 

$7,274.50  $7,274.50 

J.  H.  Hahn.  ) 

A.  A.  Stanley.  [-Executive  Committee. 
F.  H.  Pease.  ) 
33xamined  and  found  correct. 

E.  S.  Sherrill.  ) 

S.  S.  DeLano.  V  Local  Auditing  Committee. 
J.  C.  Batchelder.  ) 

SECRETARY'S   FINANCIAL  REPORT. 

RECEIPTS. 

To  Balance  $  6.76 

Memberships   1,732.00 

*'   Sale  of  Reports  and  Books   10.85 

"   Cash  from  Executive  Committee   107.93 

"   Advertisements,  net  ,   407.25 

$2,264.79 

Deficiency   189.23 

$2,454.02 

DISBURSEMENTS. 

By  Printing  $  580.06 

Postage   338.43 

*'   Typewriter  and  Desk,  appropriation   107.50 

"   Miscellaneous   52.00 

Secretary's  appropriation   600.00 

"   Committees  and  V.-P.'s  Bills   81.03 

^'   Twenty-five  hundred  Reports   695.00 

$2,454.02 

Audited  to  July  4,  1890. 

  H.  S.  Perkins,  Sec'y. 

TREASURER'S  REPORT. 
Amount  on  hand  from  Life  Memberships  and  Contributions  to 

the  O.  and  C.  C.  Fund   $869.16 

W.  H.  Dana,  Treasurer- 


CONTENTS. 


Address  of  Welcome,  by  James  B.  Angell,  L.L.D   7 

President  Parsons'  Kesponse   9 

President's  Address,  by  Albert  Boss  Parsons   11 

Secretary's  Report,  by  H.  S.  Perkins   21 

History  of  Piano-Forte  Teaching,  by  James  H.  Howe   24 

A  few  thoughts  on  Piano  Teaching,  etc.,  by  Chas  H.  Jarvis   30 

Woman  in  Music,  by  Fannie  Bloomfield  Zeisler   SS 

American  Composition,  by  John  S.  Van  Cleve   45 

The  Scientific  Study  of  Music,  by  Waldo  S.  Pratt   51 

The  Organ,  by  A.  A.  Stanley   56 

Early  Organs  in  America,  by  Sumner  Salter   61 

American  Composers,  by  Frederic  Grant  Gleason   71 

Orchestral  Composition,  by  Johann  H.  Beck   79 

Musical  Composition  in  America,  by  C.  L.  Capen   85 

Past,  Present  and  Future  of  Vocal  Art  in  America,  by  Edmund  J.  Myer   90 

Vocal  Music  in  America,  by  Jules  Jordan   96 

Progress  of  Vocal  Art  audits  Future  Prospects,  by  Emilio  Belari   98 

Elementary  Musical  Education,  by  W.  F.  Heath   103 

The  Psycology  of  Music,  by  Theo.  F.  Seward   108 

Discussion  by  Dr.  Field  and  others   114 

The  Relation  of  State  and  National  AslBociations,  by  N.  Coe  Stewart   120 

Need  the  State  and  National  Associations  Injure  the  M.  T.  N,  A.?  by  Johannes 

Wolfram   125 

Supplementary  Paper,  by  William  Wolsiefcer . .   132 

Elements  of  Success  Pertaining  to  Musical  Instruction  in  Public  Schools,  by 

Benjamin  Jepson   134 

Music  Instruction  in  our  Public  Schools,  by  P.  M.  Bach    142 

Discussion   147 

Secretary's  Official  Report   152 

Congratulatory  Remarks,  by  Hon.  Don  M.  Dickinson,  of  Detroit   159 

Address  of  Governor  Cyrus  G.  Luce,  of  Michigan  :   160 

President  Parsons'  Response   161 

Report  of  Committee  on  the  President's  Address     164 

Treasurer's  Financial  Report   172 

Secretary's  Financial  Report   173 

Vice-President's  Condensed  Reports    175 

Board  of  Vice-President's  Proceedings   186- 

Report  of  the  Church  Music  Commission   193 

Church  Music  Register's  Report     195 

Philosophical  Relation  of  Church  Music  to  Public  Worship— Secretary's  Report   201 

Report  of  Committee  upon  National  Methods— Vocal  Section    208 

Correspondence   211 

Constitution   215 

Founders,  or  Charter  Members   225 

Life  Members  and  Address  List    226 

Advertisements  ;   247 

Financial  Statement     271 


£BBATUM. 

In  the  Advertisement  of  John  M,  Himelman,  Manager,  there  should 
be  added  the  firm  name: — 

WHITE-SMITH  MUSIC  CO., 

5  and  6  Washington  Street,  CHICAGO. 

SEE    PAGE  247. 


